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THE NEW YO'
FUBLIC LIBRAxM
OR, LENOX
FOUNDATIONS
■-^ n
Complete ^elf^SttjStructmg Hibtat^
of practical ^i^otograpl^r
VOLUME III
General Exterior Photography
Composition
Edif or -in- Chiefs
^opuiar oEtittion
PUBLISHED BY
^mectcan ^ct)ool of ^rt anti ^{)otograpl^ti
SCRANTON, PA., U. S. A.
1909
THE 1-'
cWiCRK
.961
JOE*. Fd'J''-*'^
T»tDE»'
Copyright, 1908, 1909, bt
AMERICAN SCHOOL OF ART AND PHOTOGRAPHY,
ScRANTON, Pa., U. S. a.
Entered at Stationer's Hall, London, England.
All rights and translations reserved.
TABLE OF CONTENTS
VOL. III.
PAGE
Introduction 21
CHAPTER I.
Architectural Photography
Part I — Preliminary Instruction 27
CHAPTER II.
Architectural Photography
Part II — General Instruction 49
CHAPTER. III.
Architectural PHoT.pfr^AVHY \ ' ■
Part HI — Deta?;le^d li^jJi^si-Rtrci'iON 67
CHAPTER .'jV^./
Difficulties — ARCHiTEOTiiiiAL 'Photography 81
CHAPTER V.
Landscape and General View Photography 87
Information on Choice of Apparatus
and Material 89
CHAPTER VI.
Landscape and General View Photography —
Composition 105
CONTENTS
PAGE
CHAPTER VII.
Instruction in Landscape Photography 127
CHAPTER VIII.
Sunlight in Landscapes Rendering Light and
Shade 133
CHAPTER IX.
Part I — Figures in Landscapes 137
Part II — Street Photography 143
CHAPTER X.
Form of Composition 149
CHAPTER XI.
General Talk on Composition and Art 155
CHAPTER XII.
Difficulties — Landscape Photography and
Composition 167
CHAPTER XIII.
Cloud Photography 175
v-qHAPTER; XIYj.
Snow and Frost Photography. . ; : 191
CHAPTER XV.
Difficulties — Cloui>, '5N<?;>\;,if>.iND Frost
Photography. .'.'. .'.'. '. .''. .'.'.•: 199
CHAPTER XVI.
Part I — Seascape Photography 203
Part II — Photographing Sea Birds 215
CHAPTER XVII.
Difficulties — Seascape Photography 219
CHAPTER XVIII.
Night Photography 221
CONTENTS
PAGE
CHAPTER XIX,
Difficulties — Night Photography 237
CHAPTER XX.
Floral Photography 239
CHAPTER XXL
Wild Flowers 255
CHAPTER XXII.
Animal Photography 261
CHAPTER XXIII.
Natural History Photography — Birds, Insects,
Animals, Etc 275
CHAPTER XXIV.
Fuzzy Photography 285
CHAPTER XXV.
Pin-Hole Photography 293
ILLUSTRATIONS
Illus. Par.
Number Title Page Ref.
1 Residence Photographed Under Strong
Sunlight 35 30
2 Residence Photographed with Sun
Under Cloud — Lens Stopped Down.... 35 31
3 Residence Photographed with Sun
Under Cloud — Without Stopping
Down Lens 36 32
4 Residence Lighted from the Side 36 33
5 Gray Stone Building Photographed in
Strong Sunlight 39 34
6 Dark Building Photographed in Strong
Sunlight 39 35
7 Dark Building Photographed When Sun
Was Under Cloud 40 36
8 Residence — Study No. 3 43 37
9 Residence — Study No. 4 44 42
10 Residence — Study No. 5 47 43
1 1 Residence — Study No. 6 48 44
12 Example of Using Single Combination
of Lens 51 45
13 Photograph OF High School Building... 40 49
14 Use of Swing-Back on View Camera.... 55 56
15 Use of Swing-Back on View Camera. ... 55 58
16 Effect of Tipping Camera Without Us-
ing Swing-Back 55 59
17 Use of Swing-Back on View Camera 56 61-64
ILLUSTRATIONS
Illus. Par.
Number Title Page Rkf.
i8 Use OF Swing-Back on Hand Camera.... 56 61-64
19 Demonstration of Perspective Lines .... 56 69
20 Street Scene 72 102
21 Example of Making Exposures at Mid-
day— Sunlight 72 106
22 Example of Making Exposures at Mid-
day— Shadow 72 106
23 Court House 77
24 Moving Objects Avoided When Photo-
graphing Buildings 78 1 1 2
25 Effects of Halation 92 1 64
26 Effect of Backed Plate — Non-Halation 92 167
37 Bausch & LoMB Bichromate of Potash
Ray Filters lOi 1 86- 1 90
28 Bausch & Lome Bichromate of Potash
Ray Filter lOi 191
29 Attaching Home-Made Screen on Lens. . 102 195
30 Location on Ground-Glass of Principal
Object 108 213
31 Steelyard 1 10 219
32 Bisection of Lines 1 14 227
33 Masses of Equal Size 1 1 7 237
34 Masses of Unequal Size 1 1 8 237
35 Triangular Form of Composition 120 239
36 Diagram — Hogarth's Line of Beauty. .121 241
37 Hogarth's Line of Beauty in Land-
scape 123 241
38 Circular Form of Composition 124 242
40 Print from Cloud Negative 177 396
41 Print from Foreground Negative to be
Used with Cloud Negative 178 396
42 Cloud and Landscape Prints Combined. . 179 396
42a Print from Foreground Negative to be
Used with Cloud Negative 1 80 396
423 Cloud and Landscape Prints Combined. . 183 396
43 Sky Shade Shutter 184 397
44 Reflex Camera 184 460
ILLUSTRATIONS
iLLus. Par.
Number Title Page Ref.
45 Lightning 223 502
46 The Plaza 224 508
47 A Moonlight Effect 228 512
48 T. T. & H.'s Single Level 232 518
49 A Lens Hood 232 519
50 Watkins' Pin-Hole Lens 302 691
STUDIES AND HOW THEY WERE
PRODUCED
HOW
STUDY
MADE
PAGE
PAGE
25
307
26
307
STUDY
NUMBER TITLE AUTHOR
1 Souvenir de Petit Trianon
Wm. H. Phillips
2 An October Morning, Sweet Brothers
3 Residence (Illus. No. 8) 43
4 Residence (Illus. No. 9) 44
5 Residence (Illus. No. 10) 47
6 Residence (Illus. No. ii ) 48
7 A Corner in the Piazetti, Venice
Wm. H. Phillips 52 307
8 Day Is Far Spent C.F.Clark 71 310
9 Bridge J. H. Field 91 310
10 August Showers. . .Dr. A. R. Benedict hi 311
11 Fast Falls THE Eventide, Geo. H. Paine 1 12 312
13 Pleasures Under Summer Skies
Wm. T. Knox i 29 309
13 Calling the Ferryman
Mrs. Nancy F. Conks 130 308
14 Fairy Tales Edmund L. Sanderson 139 309
15 The Edge of the Cliff
Myra a. Wiggins 1-40 3 1 1
STUDIES
HOW
STUDY STUDY MADE
NUMBER TITLE AUTHOR PAGE PAGE
i6 Street in Oi.d Japan. .Wm. H. Phillips 145 308
17 The Man on the Box
Dr. a. R. Benedict 146 310
18 Snow Scene W.A.Wilson 189 312
19 Street Scene — Winter, John S. Neary 190 312
20 The Dreary Road C.F.Clark 197 313
21 Departing Day . Geo. H. Scheer, M. D. 198 311
22 The Wave J.R.Peterson 205 313
23 All Aboard Wm. T. Knox 206 313
24 Oyster Boat .Dr. A. R. Benedict 209 313
25 Sunset Clouds Over Bay v
S. I. Carpenter 210
26 Marine S. I. Carpenter 213
27 Boats Near Venice.. .Wm. H. Phillips 214 314
28 Moonlight on the Mississippi
R. E. Weeks 227 308
29 Blossoms, Cherokee Roses
Mrs. M. S. Gaines 241 314
30 Daffodils S. I. Carpenter 242
31 Cherokee Roses Mrs. M. S. Gaines 247
32 Chrysanthemums. . .Dr. A. R. Benedict 248 314
33 Water Lilies Mrs. M. S. Gaines 251 314
34 Blue Flag John M. Schreck 252
35 Hepaticas John M. Schreck 257
36 Hillside Path Wm. T. Knox 258 312
37 Princess John M. Schreck 263
38 Swans Harriet Lyman 264
39 Fighting It Out Down the Stretch
John M. Schreck 264
40 Young Wild Foxes, Family of Flickers,
Chipping Sparrow and King Birds,
Blue Birds John M. Schreck 277
STUDIE'S
HOW
STUDY STUDY MADE
■NUMBER TITLE AUTHOR PAGE PAGE
41 Young King Birds John M. Schreck 278
42 Young King Birds, Nest and Eggs, King
Bird, Mother King Bird
John M. Schreck 283
43 A Dull October Day. . .John Chislett 284 310
44 Spring Wm. H. Phillips 289 308
45 The Road in the Sand
Geo. H. Scheer, M. D. 290 309
46 Needle-Hole Landscape, Geo. H. Paine 295 315
47 October Day (Pin-Hole) . .C. F. Clark 296 315
48 The Meadow Road J.R.Peterson 306 312
49 The Dreamy Susquehanna
Karl M. Ebert 3 1 9
INTRODUCTION
In introducing Architectural and Landscape Photog-
raphy to the reader, we desire to call special attention to
one or two points of importance : Foremost, it is wrong to as-
sume, as most people do, that architectural and landscape
photographs are easier to make than portraits or figure
studies. Perhaps the real cause for this mistaken impression
lies in the fact that the average man does not understand
nature and, therefore, cannot detect the mistakes in a land-
scape as readily as he can in a portrait. The reason for this
is undoubtedly his lack of knowledge and unfamiliarity
with nature and outdoor life. He assumes that certain forms
in the picture are meant to represent trees, clouds, moun-
tains and rivers, and accepts them as such without ques-
tion, since he really knows no better. So, until
quite recently, many photographers made landscapes with
bald-headed skies — that is, a cloudless sky without atmos-
phere and without distance, while the place for the sky was
represented by white paper in the photograph. Gradually,
thanks to the exhibitions and art talks at conventions, the
popular taste is now being educated to a truer idea of nature
and a finer appreciation of artistic landscape photography.
The instruction in this volume will not only help you to
copy nature accurately and make views with absolute fidel-
ity to the original, but also will point the way for you to
artistic and pictorial success, for, while a knowledge of
nature sufficient to discriminate between what is true and
what is untrue enables one to reproduce a landscape scene
truthfully, something more is needed to reproduce it in
pictorial form. The ideal landscape picture is one that
21
22 Library of Practical Photography.
awakens in us emotions of pleasure and enjoyment. It ap-
peals to us because it is beautiful in itself, apart from any-
historical or geographical value it may have as a picture.
Therefore, to portray beauty, besides being a true and faith-
ful rendering of nature, the picture must also show good
selection and proper distribution of light and shade to give
it breadth and idealize it.
It is a curious fact that it was not until the seventeenth
century that a landscape picture was considered of sufficient
importance to make a painting of it. The close of the eigh-
teenth century saw the beginning of modern landscape work,
the crowded city, the noise, the bustle and the choking smoke
gave man a longing for the fields and the open country.
Turner, Corot, Inness, Constable, Millet, all translated this
feeling and voiced this aspiration in their wonderful land-
scape paintings, and now comes the photographer to do the
same thing with his camera.
Will he succeed as the painters have done? We wait,
we hope. Without aiming avowedly to reduce Landscape
Photography to an exact science, the reader will find in the
pages of this book some golden rules, whereby pictorial
views and good landscapes may be secured with a camera.
One can learn much, in this connection, from a study of
landscape paintings by the old masters. An examination of
these and of other forms of the graphic art, will soon make
clear the value of certain laws underlying the principles of
selection and arrangement. Add to this good lighting and
correct exposure, all of which may be learned from this
instruction, and one may hope to express his ideas or im-
pressions of nature rightly in landscape photographs.
In Architectural Photography, however, the object of
the worker is different. Here the photographer aims to
secure a print interesting from an architectural, historical,
or perhaps archaeological standpoint, his chief object be-
ing to obtain a record of facts. He aims, first of all, to secure
architectural detail and beauty of line in his photographs.
On the other hand, he can improve his picture very much
by carefully selecting his view-point and choosing his light-
Introduction. 23
ing, thereby giving to the picture a certain amount of pic-
torial quality, without sacrificing the details he wishes to
reproduce. He deals with architecture and buildings as
with any other subject matter in photography, paying no
attention to atmospheric effects, seeking to obtain broad
masses of light and shade, and studying especially beauty of
line in his picture.
The chief question to settle in making architectural
photographs is whether you wish to show every brick and
stone in the structure or only to secure an agreeable impres-
sion of the building. With this matter settled, it is com-
paratively easy by a turn of the focusing screw and a large
stop to get the chief object of the picture into sharp focus.
Then, by changing to the next smaller stop, one can re-
tain the desired degree of sharpness in the building, while
the background and accessories are slightly less sharp.
Indeed, this is the best principle to follow in all architec-
tural work, making the principal object sharpest and the
other objects less sharp, according to their pictorial im-
portance.
The lens is always an important factor in this work.
While an ordinary rectilinear working at F-8 can be used,
it should be so well corrected for spherical aberration that,
if the view is focused at full aperture, stopping down will
not be necessary to secure definition. But, on the whole,
the modern anastigmat lens has so many advantages it is
much to be preferred. These facts, however, are dealt with
more at length in the succeeding pages.
Finally, if the photographer begins by acquiring a slight
knowledge of architecture, he will then be able to go about
his work more intelligently, with less chance of failure. The
ordinary apparatus and intelligent enthusiasm are the prime
factors for success in making architectural and landscape
photographs.
Study No. i-
SOUVKNIR De petit
-See Page 307
TRIANOX
By W.m.
II. Phillips
V
CHAPTER I.
ARCHITECTURAL PHOTOGRAPHY.
Part I.
Preliminary Instruction.
1. Wlien the beginner in photography first tries his
camera it is usually pointed at some building, generally the
family home, for the reason that such an object is erron-
eously supposed to be the most simple to photograph. Also,
because there is ever a demand by the members of the family
for a picture of "home." The results of first efforts are
eagerly awaited. There are, in consequence, many photo-
graphs intended for pictures of "home, sweet home" which
are merely caricatures. The base of the house is some-
times wider than the top or is tipping over backwards or
sideways, and many times it looks as though a cyclone had
twisted the entire building out of shape. In this instruction
you are taught how to overcome these difficulties.
2. In the study of Architectural Photography you re-
ceive a training on the proper utilization of highlights,
shades and shadows, perspective and lines. In the photo-
graphing of architecture we really find the foundation of
the art. A well executed series of architectural photographs
are an interesting and valuable possession and well repay
the labor of producing them.
3. An architectural photograph to be of value must be
properly executed, and if in photographing buildings
they be badly represented their beauty is entirely lost.
4. To the professional workman this branch of photog-
raphy has proven most fascinating as well as exceedingly
profitable. The purpose of this instruction is that you may
by careful study, diligent and intelligent practice obtain a
27
28 Library of Practical Photography.
thorough and practical knowledge of the correct photo-
graphing of buildings and architecture of every description,
5. Requirements. — In an architectural photograph the
fundamental requirements are true and perfect perspective.
The architect when preparing his designs, keeps the fact in
mind that the structure, whether a public building or a
dwelling, will be seen from various points and, in order to
give it grace, he supplies certain curves and lines, modulat-
ing them to that effect. It is, therefore, absolutely necessary
for the photographer to interpret these lines in a truthful
manner. To do this it is necessary that he must not only
study perspective, light, shade and shadow, but most essen-
tially, lines. The location of the horizon, vertical and hori-
zontal lines must also be true. There should be light, shade
and shadow, and the proper relation of highlights and
shadows is very important.
6. Outfit. — While for ordinary architectural pictures
the regulation view or hand camera will answer — and there
are times when even the pocket film camera will supply the
required results — yet for the best results and for difficult
work the most modern instruments should be used. It is a
fact that a large percentage of architectural pictures are
made with the ordinary camera and lens. It is also true that
the modern cameras of today are equipped with attachments
for the overcoming of many obstacles which could not be
conquered with the old style of instruments. Wliile modem
cameras are so well equipped, yet few workers realize the
value of their improvements ; consequently usual results are
far from being as satisfactory as they might be. Therefore,
with the camera of today one has but to understand the
practical advantages of these improvements to produce the
best of work.
7. In considering the apparatus necessary for the suc-
cessful taking of architectural photographs, we will first
view the outfit from a professional and then from an ama-
teur standpoint. At one time an architectural photograph-
er's outfit was looked upon as a trifling affair. A view
camera of the ordinary type, a rapid rectilinear and a wide
Architectural Photography. 29
angle lens, were all these outfits consisted of. The portrait
photographer considered the taking of buildings, or archi-
tectural photography, in general, simply a side issue in his
business. As a rule, he did not care to leave his studio and
so gave little thought to this most interesting part of the pho-
tographic profession. Today, however, the demands on the
photographer are entirely different, and both the profes-
sional and the amateur have begun to realize that archi-
tectural photography requires just as much thought and
study as portraiture, as well as the proper kind of outfit.
8. Cameras. — The first consideration of the photog-
rapher, especially the professional, should be his camera
and lens, as in architectural photography it is necessary
for the proper photographing of the different kinds of archi-
tecture to have different lenses, and sometimes even special
cameras.
9. Professional Cameras.— The proper camera for a
professional should be equipped with square bellows, swing-
back, rising and falling front, and rack and pinion move-
ment for focusing. The bellows should be attached to a
rigid front frame. This front frame ought to be equipped
with two rising and lowering attachments, one for raising or
lowering the bellows, the other for regulating the front
board to which the lens is attached. The front frame should
be high enough to allow the front board to be raised or low-
ered independently of the bellows, which should remain
stationary, except when photographing very high buildings.
"With a large square bellows, no matter how high the front
board is raised, or how short the focal length of the lens may
be, there is no danger of the bellows sagging and cutting off
any of the rays of light on their way to the plate.
10. Hand Cameras for Architectural Work. — Buildings
of the ordinary height, such as houses, barns, two or three-
story buildings, may be successfully photographed with the
ordinary hand or film camera. However, the hand camera
equipped with the swing-back attachment, rack and pinion
focusing movement, rising and falling front, and reversible
ground-glass is very much superior to the stationary or fixed
30 Library) of Practical Photography,
focus instrument. For all ordinary purposes, one may ac-
complish with the improved hand camera results almost
equal to those obtained with the professional view camera.
The only time you will be at a disadvantage is in photograph-
ing high buildings located in close quarters. Even then, the
use of an extra wide angle lens will easily conquer such an
emergency, and if the building is not too high nor too closely
confined good results may be obtained. With this
outfit any ordinary building can be photographed success-
fully. But with the fixed focus cameras, such as are gener-
ally used by beginners in photography, there is apt to be
distortion, unless you work at a sufficient distance from the
object to avoid tipping the camera in admitting the entire
building into the view. Fixed focused cameras known as
snap-shot cameras like all hand instruments must always be
held perfectly level for all kinds of work, otherwise there is
sure to be distortion. Those having such cameras who meet
with failures will readily recognize the cause when they
read and understand the advantages of more improved in-
struments. (See illustrations 14, 15, 17 and 18, showing the
use of the swing-back, rising and falling front, division of
focus, etc. Pages 55 and 56.)
11. Swing-Back. — A swing-back is an attachment at
the rear of the camera permitting the ground-glass to re-
main perpendicular, regardless of angle at which the instru-
ment is tilted.
12. Cameras without SAving-backs or swing-beds cannot
be used for extremely high buildings for the reason that, in
order to obtain rectilinear lines, the ground-glass must be
absolutely perpendicular. If the building is verj'- high you
cannot photograph all of it and hold the camera level.
Should you tip the camera to admit the entire building in
the view, the picture would be distorted and the building
look as if it were falling over. For such high buildings you
will find it necessary to tip the camera and raise the front
board, which slides in the groove. It can be raised or low-
ered to admit the entire building into the view. In order to
have the lines perpendicular and an undistorted image of
Architectural Photography. 31
the building, you will need to make free use of the swing-
back. Every time you tip the camera out of level you must
use the swing-back to straighten the building on the ground-
glass.
13. Obtaining Perpendicular Lines. — To help you to
determine when you have your lines as true as possible,
draw a top and side line, with pencil and straight-edge, % of
an inch from the top and side of ground-glass frame, on
ground side of the glass. These guides will attract your at-
tention to the lines of your object and enable you to get
them perfectly true and perpendicular on the plate.
14. Double Swing. — The modern professional view
camera is fitted with double swing. The swing will permit
of great inclination, being hinged at the bed or pivoted at
the center of the back section. The swing-back is absolutely
necessary as it not only assists the working of the lens, but
permits the photographing of some buildings which would
be impossible without the swing-back.
15. Rack and Pinion for Focusing. — The rack and
pinion movement is an additional improvement to the ordi-
nary camera. With it, focusing is greatly simplified as the
cog teeth are very close and fine, thus permitting more ac-
curate focus to be obtained. With the hand camera the
rack and pinion is attached to the bed and the racking is to
the front. On professional view cameras some manufac-
turers have it attached to the front, others at the rear. Both
methods are good, one having no advantage over the other.
16. Reversible Back. — The object of the reversible
back is to enable the worker to make either horizontal or
vertical views without changing the position of the camera.
The back is held in place by means of firm clamps which are
easily released when desired. The ground-glass is attached
to the frame of the reversible back and for convenience of
centering the object on the plate, there should be a vertical
and horizontal line drawn through the center of the ground-
glass, as we have previously instructed. It is also a good
plan to mark the ground-glass for different size plates so that
32 Library of Practical Photography.
when plates of a smaller size are used the lines of the view
may be easily located on the glass.
17. Lenses. — For architectural photography lenses
with extreme depth of focus must be used. The ordinary
Rapid Rectilinear Lens will, therefore, serve for all ordinary
work. There are times when photographing interiors, tall
buildings in narrow streets, and working in closely con-
fined places make it necessary for a wide-angle lens to be
employed. For these reasons every camera should be
equipped with lens of this character that it may be attached
instantly when occasion requires.
18. There are also times when objects are to be pho-
tographed at long range. For instance, cornices of tall
buildings, moving ships at quite a distance from shore, ob-
jects on the opposite side of a river; in short, photographing
anything at a distance too far away to obtain a satisfactorily
large image upon the plate with an ordinary lens. In such
cases a Telephoto Lens is of wonderful assistance. The spe-
cially constructed Telephoto Lens, which is a very long fo-
cus rectilinear instrument, is not in general use by pho-
tographers. However, the convertible three-focus lens is very
much in use and serves as an excellent all-around instru-
ment. It is used quite generally for ordinary telephoto
work. (See Illustration No. 12, Page 51).
NOTE : — Detailed information regarding all classes of lenses and
shutters will be found in Vol. VI.
19. Convertible Three-Focus Lens. — With the convert-
ible three-focus lens can be obtained similar results to the
Telephoto, as by using the rear combination alone the image
is doubled in size. Removing the rear combination entirely
and substituting the front produces a still larger image.
"With even the ordinary rectilinear lens, a larger image can
be obtained by removing the rear combination and using the
front lens alone.
20. The use of these various combinations is very con-
venient when it is necessary to photograph at long distances.
Often an object photographed with the regular lens will be
Architectural Photography. 33
quite indistinct, where if the single combination was used
it would be much larger and more clearly visible. It must
be remembered, however, that by changing the combination
of the lenses you also change the working speed. Collec-
tively the lens may be very rapid, yet, when used singly, four
times the exposure will be necessary. It is also imperative
in using this class of lens to have an extra long bellows, as
a short one would not allow for proper focusing. When not
using the full length of bellows hook the ring, which is at-
tached to the top of bellows, to the hook over the front
board. This will obviate the sagging of the bellows.
21. Shutters.— Shutters of the ''Bausch & Lomb," or
"Wollensak" time and instantaneous registering variety,
can be set without opening the shutter, and are most con-
venient. They are not expensive, nor are they extremely
rapid, /out as architectural photography does not require
extreme rapidity of exposure, they answer all purposes.
The^^e shutters are fitted with Iris diaphragms. By means of
the Iris diaphragm you can graduate the size of the aperture
without interfering with the shutter, a feature which makes
this class of shutter most desirable. If a more rapid shutter
is desired, the Volute or Sector may be employed. These
shutters in the smaller sizes, up to 5x7, are regulated so as
to give an exposure from 1-150 to 3 seconds.
22. Diaphragms or Stops.— The uses of diaphragms,
commonly called stops, in a lens are numerous. By the use
of small stops the picture is made sharper, more definition
is obtained and the depth of field covered by the lens is in-
creased. In architectural photography it is necessary to
use a small stop to meet severe requirements; for instance,
photographing a tall building, which necessitates the ex-
treme use of the swing-back. This makes a division of focus
between the upper and lower portion of the plate necessary,
and in order to produce sharpness throughout the plate a
very small stop must be used. While the small stop admits
less light upon the sensitized plate, and necessarily prolongs
the exposure, it gives greater latitude, greatly reducing the
chances of failure. As the architectural photographer sel-
34 Library of Practical Photography.
dom finds it necessary to make short exposures the stopping
down is not objectionable. By the use of a small stop the
contrast in the negative is increased, while the shades and
shadows become deeper and sharper. The highlights are
thus made stronger. If, on the contrary, a soft negative,
free from contrast is desired, this effect can be produced
by the use of a large stop,
23. Tripods. — We advise the use of a strong, service-
able, wooden tripod, which will support the heaviest camera
without danger of vibration. Avoid a tripod of the so-called
light weight class. The tripod should be made with telescopic
parts. The ends should have sharp points. For these points
procure rubber tips for use when photographing on slippery
pavements or smooth floors of interiors. They will prevent
the tripod from slipping, or the possible marring of highly
polished floors. It is also advisable to provide a tripod stay,
which prevents the legs from spreading when resting on
smooth surfaces.
24. Composition. — If the architect has done his work
well, with the assistance of the landscape gardener, who lays
out the grounds in keeping with the building, the photog-
rapher's task will be a pleasant and easy one. It only re-
mains to select a position that will give proper perspective
and most artistic effects of light and shade. An architect
making a drawing of a building, improves the artistic effects
of the work by means of heavy shadows and strong high-
lights. "Without these shadows a building would appear
flat. It is possible on paper to give a fine appearance to a
building, which, when constructed, may be so poorly located
with regard to light and shade as to produce a most disap-
pointing effect. As it is with the architect so it is with the
photographer. The photographer must select the time of
day to photograph a certain building when the shadows are
at the best angles, in order to produce proper drawing. The
beauty of the picture depends upon reproducing the angles
and trimmings of the building with proper detail. Whenever
possible a building should be photographed showing the
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^Vl ■^^^^^■kZ'i. D^^^bIBu
kI
^^^H
Illustration No. i
See Paragraph No. 30
Illustration No. 2
See Paragraph No. 31
Illustration No. 3
See Paragraph No. 32
Illustration No. 4
See rara<,'raph No. 33
Architectural Photograph]). 37
front and part of one side, thus producing the best perspec-
tive.
25. The Best Time of Day for Making Architectural
Views. — For ordinary architectural work short bellows are
preferred. These effects are accomplished by making ex-
posure between the hours of 9 and 11 a. m. or from 1 :30 to
4 p. m. In architectural photography you should not photo-
graph a light colored building with the sun directly back of
you. To do so would give you a very flat picture, contain-
ing all highlights and no shadows. The sunlight should fall
a trifle from the side to produce shadows that will accen-
tuate the highlights.
26. To obtain the most artistic effects of the building
being photographed, watch the changes of light as the sun
rises or sets. This may necessitate a number of visits to
the same building. It often pays to spend a part of the day
watching the light on a building and viewing it from differ-
ent points. When the highlights and shadows show a pleas-
ing drawing, make the exposure.
27. Watch the continued changes of longer or shorter
shadows on the building, and should it appear to better
advantage later on, make another exposure. You will often.
be surprised at the improvement a longer or shorter shadow
will make in the view; so watch your object carefully for
best light effects before making the exposure.
28. It is well to remember that a high building can be
improved with short shadows, or a low sun; while a low
building is improved by long, more perpendicular shadows
or a high sun. (See illustrations of architectural views).
29. The crude drawings used in illustrating the uses
of the camera are by no means properly proportioned, but
will, we hope, serve to show as clearly as possible the ad-
vantages and proper manipulation of the different camera
attachments, namely: Swing-back, rising and falling front.
30. The half-tone illustrations herein presented serve
fully their purpose. The picture of the stone bank building
in two views, Nos. 21 and 22, page 72, one taken under a high
sun, the other with the sun under a cloud, demonstrate the
III— 3
38 Library of Practical Photography.
advantage of sunlight in architectural work, and in this
case, the advantage of a high sun for this class of buildings.
Illustration No. 1. This illustration shows a residence
photographed under a strong sunlight at a lower angle, the
lights and shadows of which make the trimmings stand out
boldly.
31. Illustration No. 2 shows the same building as No.
1, photographed from the same point with the sun under a
cloud, but stopped to F. 32, in order to accent the shadows
as much as possible. It was fully timed and finally .de-
veloped with a restraining developer, resulting in a good,
strong picture.
32. No. 3 is the same building as Nos. 1 and 2, photo-
graphed under a clouded sky. The ordinary large stop was
used and the plate developed in the ordinary way, without
any restraining, resulting in a very flat print.
33. Illustration No. 4. The architecture in this resi-
dence is composed of so many angles that to preserve them
they are made to appear best in a subdued light. It will be
readily apparent with the sun falling upon the side of the
building that more boldness is imparted to the front, thus
preserving more clearly the projections and general lines of
architecture.
34. Illustration No. 5. This mansion being constructed
in one color of grey stone, relieved only by a few stone pro-
jections above the first floor and gables, great care was ex-
ercised in selecting the best time of day to photograph it.
When the sun directly illuminated the front and sides there
was nothing to relieve the monotony of color and the build-
ing appeared flat. But, as the sun gradually left this portion
of the mansion, causing the main body of the house to be
thrown into the shadow, the sun's rays fell upon these pro-
jections giving strength and boldness to the architecture.
35. Illustration No. 6. Being a very dark building the
strong sunlight adds relief to the color monotony.
36. Illustration No. 7. Picture of the same building
photographed with the sun obscured by a cloud, resulting
in a very flat picture.
y
ik ill
*^5?«
illusUulluli Ncn 5
See Paragraph No. 34
Illustration No. 6
See Paragraph No. 35
Illustration No. 7
See Paragraph No. 36
lilustratiuii No. i^
See Paragraph No. 49
Architectural Photography. 41
37. A careful comparison should be made between the
frontispiece of this volume and Illustration No. 8. The nega-
tive from which the latter print was produced was made
three years before the former. The change in the landscape
gardening has very materially added to the picturesqueness
of the surroundings of this modern colonial residence, and
the beautiful cloud effect gives still greater life and natural-
ness to the whole scene. The exposure of the negative from
which the frontispiece was made was excellent. The develop-
ment was carried to the correct point to bring out the effect
of the lighting. The shadows from the trees and under the
porch show that the sun was shining brightly and falling at
an angle of approximately 45 degrees; which was best
suited for this particular subject. The time of day chosen
to make the exposure could not have been bettered.
38. Notice carefully that although the side of the house
which receives the strongest light is very white, the delicate
half-tones have been preserved.
39. In both pictures the point of view is practically the
same, the reason for choosing this particular view-point be-
ing to have the bay window break the straight perpendicular
line of the rear of the house, which would have been formed
if a position a little more to the right had been chosen. A
position more to the left would have given a straight front
view, which, of course, is undesirable.
40. The general lighting effect of the house in Illustra-
tion No. 8 is not as good as that of the frontispiece. The
sun is much lower, the sky clear, causing a flat effect ; while
the negative was somewhat over-timed, thus exaggerating
the flatness caused by the lighting. The development, how-
ever, was carried correctly, even those portions receiving
the strongest light having detail in them.
41. Illustration No. 8 is a good technical example of
architectural photography. It reproduces that which the
architect would desire to show — ^the trimmings of the house
and the general exterior features. The owner of this resi-
dence would, no doubt, prefer the print shown in the frontis-
piece, which is a beautiful piece of architectural photo-
42 Library^ of Practical Photography.
graphy. It not only shows in a general way, the construc-
tion of the residence, but also illustrates, in a most truthful
manner, the general surroundings and on the whole gives a
pleasing, artistic effect.
42. Another striking example of the value of showing
more than the actual building itself is shown in Illustration
No. 9, where a building of similar type to that shown in the
frontispiece is surrounded by shrubbery. The photograph
was made from a view-point sufficiently far away to not only
show the general surroundings, but also give an angle of
view narrow enough to allow the observer to see exactly
what the photographer saw. It is always advisable to choose
a point of view as far from the residence, or building, as
possible, as in so doing the lines of perspective are held more
true to nature, and there is less likelihood of destroying the
perpendicular lines. In order that the observer's attention
may be held on the residence, which is the subject of this
picture, the sky has been kept in at a key below medium,
except that a slight cloud effect is introduced to relieve the
monotony of a perfectly plain sky.
43. An extremely common example of the old New Eng-
land residence is shown in Illustration No. 10. Not only the
house is shown, but also a sufficient amount of lawn and
other attractions to offset the plainness of the residence.
Notice carefully the manner in which the picture has been
balanced. The view-point selected was one which shows
practically an equal amount of the front and side of the
house. It was necessary to have the camera at this position,
as by moving it more to the right the large tree would have
cut off part of the house. By moving more to the left, the
small building would have detracted from the view of the
residence. However, this small building and the fountain
have enough weight and attraction to offset the equality of
the front and side of the house.
44. Illustration No. 11 shows an average residence
with the light falling on it properlj'', making it stand out
boldly, showing the desirable artistic and pleasing points
in the architectural construction. The point of view chosen
Architectural Photograph}). 45
is excellent, as it causes the highest point in the picture
space to be at one side of the center. This is a feature which
must always receive consideration, as it is undesirable, as
well as inartistic, to have the highest point directly in the
middle of the breadth of the picture space. The exposure
and development were both excellent and the retaining of
the beautiful cloud effect adds very materially to the beauty
of this particular architectural study.
45. Illustration No. 12. Picture of a public building
showing by comparison of a portion of the tower, the ad-
vantage of using the single combination of the lens. (See
Page 51.)
CHAPTER II.
ARCHITECTURAL PHOTOGRAPHY.
Part II.
General Instruction.
46. Selection of Subject for this Lesson. — In applying
this instruction you should make a photograph of a resi-
dence, using your best judgment as to position of camera,
time of day to make the view, length of exposure, etc. ; bas-
ing your judgment entirely on this instruction. While a
photograph of a dwelling should suggest the presence of
life, it is not intended in this lesson to introduce figures into
the view. Carefully remove, if possible, any objectionable
feature. There must be harmony and order. The building
itself is the principal feature and all accessories, such as
hedges, flowers, walks, trees, etc., should be subdued. They
are only a part of the general composition, and secondary
to the principal, although by their aid they form a harmo-
nious whole.
47. Proper View-Point. — The first point to be consid-
ered is proper view-point. All buildings in general have
more than one elevation appearing on a street and are gener-
ally designed with a view of giving more prominence to one
of the sides. The photographer must place his camera so
as to show this side to the best advantage. It must occupy
the larger portion of the picture but not to the detriment of
the side showing the lesser part, as distortion would then
result and the vanishing line would become too abrupt.
Never place your camera directly in front of a building, as
49
50 Library of Practical Photography.
this will give you what is known as a "one point perspec-
tive." If all vanishing lines meet at a common point in the
center of the view, the horizontal lines will remain level
and all effect of perspective is lost. A view taken a trifle to
one side will show the true lines of the projections, trim-
mings of the windows, cornices, etc., and is the best point of
attack. Never make a diagonal view which shows equal
portions of the front and sides and by which the comers
make a dividing line. This gives the building a distorted
appearance.
48. Distance from Camera to the Object. — Assuming
that you have found the proper point of view, we will con-
sider next the required distance from the camera to the ob-
ject. Usually one can measure the distance very closely
with the eye, by placing the camera in a position just far
enough from your object to allow the whole building to be
seen at one glance. This will come very close to being the
right distance.
49. You will find that generally the proper distance
from the building would be about two and a half times the
height or width of the building, taking the greater dimen-
sions as your guide. If you place your camera too near,
you are not only liable to produce too large a pic-
ture of the building for the size of the plate, but sharp van-
ishing lines will occur, which generally cause distortion and
destroy the entire character of the building. This is espe-
cially noticeable where there is a mansard roof with pro-
jecting cornice. By photographing such buildings too
closely you lose the value of all the architecture above the
cornice, and the details of the roof are also lost. (See Illus-
tration No. 13, Page 40.)
50. This illustration was made with an ordinary hand
camera without a swing-back attachment, and you will no-
tice that owing to the camera being placed too near the
object, the building is very much distorted and the lines of
the roof are much fore-shortened. The beautiful architec-
ture of the roof is entirely lost. This same building viewed
from the proper distance would give one an entirely dif-
Illustration No. 12
See Paragraph No. 4S
A CORNER IN THE PIAZKTTI, VENICE
Study No. 7 — See Page 307 By W.m. II. Phillips
'1 ,-i r i\t
PUBLIC L
TOR, LfcNOX
N FOUNDATIONS
Architectural Photography. 53
ferent view, and more clearly reproduce the work of the
architect.
51. Setting up Tripod.-r-Assuming that you have se-
lected the proper location from which to make the view,
next place your tripod and camera in this position. The
tripod should be so placed that one leg is squarely in
front of the camera, the others at the sides. In this man-
ner the operator while focusing is in no danger of striking
one of the legs, as would be the case if one leg were placed
directly back of the camera. In photographing in a narrow
street or when making interior pictures, placing the one leg
in front of the camera in place of back of it will save at
least three feet space, and will enable the operator to not
only perform his work much easier but gives him more dis-
tance from the object which he is photographing.
52. Many times when one is cramped for room, a foot
or two gained in distance makes a marked difference. There
are other advantages in placing the odd leg in front of the
camera. The leveling of the camera is more easily accom-
plished, as it can be tilted up, down or sideways by simply
moving this center leg in front. In the case of exterior
pictures made under a heavy wind, there is less liability of
the camera moving, as the operator can stand behind it and
break the principal force of the wind.
53. Focusing. — By correct focusing is meant the ob-
taining of good, clear outlines of the image on the ground-
glass of any object being photographed. This is obtained
by the racking out of the bellows until the image appears
entirely sharp on all parts of the ground-glass. This is not
always possible, because there are times when views contain
objects at different distances from the camera which cannot
all be focused with perfect sharpness at once. One object
gains in sharpness at the expense of another. This is espe-
cially noticeable in architectural photography. The build-
ing being of considerable length, the rear end, which is
farther away from the camera than the front, will not be in
the same line of focus. To obtain a sharp focus on the front
54 Library of Practical Photography.
of the building the rear would be out of focus (not as clear
and sharp as the front part).
54. In order to obtain a sharp focus of the entire
building the difference between the front and rear must be
divided. This is what is termed dividing the focus. By
racking the bellows forward a trifle the front will lose a
little of its sharpness, but the rear will appear much clearer
and sharper, and after the lens is diaphragmed down to a
small opening the entire image will appear sharp. Care
must be exercised that you do not rack the bellows forward
too far and throw the front of the building out of focus, for
while the stopping down of the lens sharpens the rear, it has
only a slight effect on the sharpening of the foreground, or
front. It is advisable, therefore, to always note the appear-
ance of the image on the ground-glass after stopping down,
and see that the foreground is sufficiently sharp.
55. It is a good practice to adjust the tripod first and
see that it is perfectly level, and then attach the camera to
it. By being careful that your camera is placed level, it will
facilitate the obtaining of rectilinear lines of the building.
If the building is a high one the swing-back must be brought
into use.
56. Using the Swing-Back Properly. — Having attached
the camera to a carefully leveled tripod, you will find that
the axis of the lens is in the center of the ground-glass, but
the top of the building and sky line are cut off. (See Illus-
tration No. 14).
57. By reference to Illustration No. 14, showing the
camera placed perfectly level, you will note that line C lead-
ing from the base of the building through the lens to the
ground-glass, comes within the range of the ground-glass,
while line A leading from the top of the building extends
beyond the ground-glass, the building being too high to be
entirely admitted into the view. The dotted line leading
from the edge of the ground-glass to the building indicates
the portion of the building projected on the screen.
58. By reference to Illustration No. 15 you will see the
effect of tipping the camera upwards in an endeavor to ad-
? «
Illustration No. 17— See Paragraphs No. 61-64
Illustration No. 18 — See Paragraphs No. 61-64
■ 1
N
Illustration No. 19— See Paragraph No. 69
Architectural Photography. 57
mit the entire building in view without using the swing-back
or rising front. The rear of the camera containing the
ground-glass is tilted backward and is not perpendicular
with the building. The face is receding from point of sight
and the image on the ground-glass will appear broader at
the bottom than at the top. This is explained as follows :
59. Line A is longer than Line C, for the bottom of the
building is nearer the lens than the top. The nearer an ob-
ject is to the lens the larger it will appear on the ground-
glass. The top of the building being farther away will ap-
pear smaller than the bottom. The building if photo-
graphed with the camera in this position would result in the
image being broad at the bottom and narrow at the top.
See Illustration No. 16. This distortion is overcome with
the use of the swing-back and rising front. If the cam-
era employed has not the rising and falling front, nor swing-
back attachment, the only way this building could be photo-
graphed to retain perfect rectilinear lines, would be to move
the camera further away until with the instrument level the
entire image would appear on the ground-glass. This, of
course, would take much more foreground than desired, but
is the only way the building could be photographed with a
camera not equipped with these attachments.
60. If one could operate such a camera from some
elevated point, thus dividing the space above the level of
the camera with that below it, he would, of course, over-
come considerable distance. If the camera is fitted with the
rising front and swing-back attachment these difficulties are
easily overcome.
61. With such an instrument, if you wish to include
more sky or more foreground into the view without moving
from your position, the front board containing the lens must
be raised or lowered. In this case — see Illustration No. 17 —
we have all the foreground desired, but require more of the
top of building and sky, consequently, by means of the rising
front, raise the front board and lens to a height that will
admit the top of the building and sky to the required de-
gree. If the bellows is square shaped, the rays of light
58 Library of Practical Photography.
will not be obstructed by the upper portion. If a cone bel-
lows is used the front of the bellows as well as the lens must
be raised, otherwise the Ijellows-folds will obstruct the rays
of light. See Illustrations 17-18.
62. Illustration No. 17 represents a professional view
camera with bellows and lens raised and swing-back tilted
forward perpendicular with the building.
In Illustration No. 18 is shown a hand camera properly
adjusted. Nos. 17 and 18 are practically the same with the
exceptions that the one is a hand camera and the other a pro-
fessional instrument.
63. When photographing extremely high buildings in
cramped surroundings, or to admit more sky it may be nec-
essary to tilt the camera upward. In other words, the en-
tire front of the camera must be raised to an angle that will
enable you to take in the entire building; or to secure as
much sky as is necessary.
64. In order to retain your rectilinear lines it is neces-
sary that the top of your ground-glass be pushed forward
by means of the swing-back, parallel with the walls of the
building you are photographing. (See Illustrations 17 and
18.) In pushing the swing-back forward, however, we meet
the first difficulty. Just as soon as the axis of the lens is
changed in relation to the ground-glass and the walls of the
building, the sharper passage of light is disturbed, and to
the eye appears distorted; but, with the proper stopping
down and careful use of the swing-back perfect rectilinear
lines will be obtained. It is therefore necessary, in order to
retain rectilinear lines, that the ground-glass and swing-
back of the camera be absolutely parallel with the walls of
the building.
65. For the beginner, it is a good plan when photo-
graphing high buildings to first obtain your focus and lines
as straight as you can get them without using the swing-
back or rising front ; then raise the front board sufficiently
to admit the building and the necessary amount of sky into
the view; and finally unscrew the clamp on the swing-back
and tilt it backward and forward, noting the changing lines.
Architectural Photography. 59
"When you have them just right — parallel with the perpen-
dicular lines on your ground-glass — fasten the clamp and
you will have the building perfectly true on the plate.
G6. Do not forget that in order to retain rectilinear
lines, whenever you tilt the camera it is necessary to use
the swing-back also. You will find, when using the swing-
back, that the top of the building w^ll be thrown entirely out
of focus. This will be the case, particularly if the building
you are photographing is extremely high, requiring an ex-
treme use of the swing-back. In such a case focus for the
lower portion of the building with an open lens, using no
stop. Then slightly divide the focus between the bottom and
the center of the building, and finally diaphragm (or stop
down) with a stop small enough to bring the top of the
building sufficiently into focus. You will thereby obtain
sharpness in the remaining portions of the view.
67. Horizontal Swing. — The horizontal swing is
attached to the regular view camera and is seldom used for
ordinary work. However, when taking a view along one
side of a narrow street, if difficulty is experienced in sharply
focusing foreground and distance, the horizontal swing
will aid you. Here again, you must exercise care or you
may swing the wrong way, as it is very easy to become con-
fused. If you will bear in mind to always swing toward
the portion of the object at the greatest distance from you,
you will never make a mistake. Until one becomes thor-
oughly familiar with the use of swing-backs it is a good
plan to practice and experiment with the swing both ways,
carefully watching on your ground-glass the effects pro-
duced.
68. Linear Perspective. — The picture that represents
an object on a plane surface appearing precisely as the eye
views it from a given point, is a simple definition of linear
perspective. By following this rule in an effort to produce
such a picture, you will be able to judge for yourself when
pictures have their proper linear perspective. It is a fact
that quite often the lens will produce a perspective which
to the eye would appear very displeasing. This is accounted
60 Library of Practical Photography.
for by the fact that the angle of lens used is frequently at
variance to the normal angle of the eyes, so that a view
which might not appeal at all to the eye may, when photo-
graphed, appear most pleasing. The same scene if photo-
graphed with a longer focused lens would, like the eye, re-
quire a greater distance to produce the proper linear perspec-
tive. It is advisable, therefore, in order to judge the linear
perspective with the human eye to become familiar with the
angle of the lens employed. As compared with the eye this
can very readily be accomplished by observing the focus on
the ground-glass from the same point of view as that of the
eye.
69. Perspective Lines. — By Illustration No. 19 we will
endeavor to illustrate prespective lines in the most practical
manner possible. Line AA is what is known as the horizon
line. The simplest explanation of the horizon line for a
landscape view is that it is a line which apparently separates
the sky from the earth. For an architectural view the hori-
zon line is that line which when looking forw^ard appears to
be on a level with the eye, and to which all other lines are
seen to converge. While the horizon line never changes and
is always on a level with the eye, yet the appearance of the
view, or building, can be improved by the proper selection
of view-point, thereby raising or lowering the horizon line
in the view. It must be borne in mind that photograph-
ing a building from a low view-point, thereby supplying
a low horizon, will tend to heighten the building, and on
the contrary a high view-point shortens it. Much depends
upon the judgment of the photographer in the selection of
view-point, as to the location of the horizon in the
vicAV, in order to truthfully represent the building photo-
graphed. The proper location of the horizon in architec-
tural views is governed entirely by the selection of view-
points.
70. Vanishing or Converging Lines. — Lines BB are
known as the vanishing or converging lines, their vanishing
point being where they meet on the horizon.
71. There are single and double converging lines. The
Architectural Photography. 61
lines in Illustration No. 19 are double vanishing lines, as the
lines converge from both ends. A single vanishing line
would be one showing but one side of a long building, or a
row of buildings on one side of a street. The end of the
street or visible portion in the distance is the horizon, and
the line following the tops of the buildings leading toward
the horizon is the vanishing line, while the junction or meet-
ing place of the vanishing line on the horizon is the pivot, or
vanishing point. The horizon line being always on a level
with the eyes, the angle of the vanishing line may change,
yet the same relation of the horizon to the eye remains.
This, therefore, can be relied upon as being the plane from
which the object is viewed.
72. Light, Shade and Shadow. — Light is a most impor-
tant factor in the composition of a picture. We have two
classes of bodies, luminous and opaque. Luminous bodies
are those which give out, or emit, light, the sun for instance.
Opaque bodies are those which intercept or obstruct light,
as stone, wood, etc. That portion of a building or opaque
body which is exposed to the direct rays of the sun is called
the illuminated part ; while the portion from which the light
is excluded is called the shade. The line which separates
the illuminated parts from the sliade is known as the line of
shade.
73. The terms shade and shadow are very apt to con-
fuse the photographer, although they differ materially. The
interception or cutting off of the rays of light from any ob-
ject produces shade. For instance, when the sun shines upon
the front of a building the rear of that same building is in
shade. The building being an opaque body intercepts the
rays of light which fall upon the front of the building,
thereby producing shade in the rear. Yet this shade gives
no idea of the form of the object which intercepts the light.
Shadow, however, may be defined as shade within defined
limits, as it represents in form the object which intercepts
the light. For instance, when we photograph a building
while the sun is shining upon it, the cornices, projections
and various trimmings intercept the light and cast a shadow
62 Library of Practical Photograph]).
upon the lighted portions, which represent their shape and
size.
74. Angle of Light.— The length of the shadow will
depend upon the time at which the exposure was made, a
high sun producing Iflj^ shadows and a low sun shOTL
shadows. Shadows are of the utmost importance in archi-
tectural photography. Without them the beauty of the archi-
tectural view would be marred, if not entirely lost. The cor-
rect angle of light for ordinary work is about 45 degrees and
should fall upon the front of the building and a trifle on the
side. If the side of the building is plain with very little
trimming, it will appear better in almost total shadow. If
there is much trimming, the sun should fall upon it in a
way that will produce graceful shadows cast from the trim-
mings and projections upon the building, thus adding to the
architectural effect.
75. Definite rules cannot be given. Much, if not all,
depends upon the style of the architecture and location of
the building. All one can do is to give plenty of thought to
the work. The building should be photographed when the
light falling upon it shows boldness combined with har-
mony, always bearing in mind that dark shadows give
strength to the results. A dark building may be photo-
graphed to the best advantage under a strong sun. A pure
white building requires a weak sun. (See illustrations 4, 5,
6 and 7, of light and dark buildings photographed under
strong sun; and the same buildings photographed with the
sun under a cloud.) These illustrations will give you some
idea of the advantage of a very strong sun on particularly
dark buildings, as compared to weak sunlight.
76. Relative Values of Different Markings on Dia-
phragms.— There are two methods generally used in mark-
ing diaphragms or stops. The first expresses the ratio
which the diameter of the opening bears to the focal length
of the lens. For example, F. 16 means that the diameter
of the opening is 1-16 of the focal length. By focal length
we mean the distance between the lens and ground-glass
when a distant object has been focused. In a rapid recti-
Architectural Photography. 63
ilnear lens the distance from the diaphragm to the ground-
glass will be correct. The focal length is dependent upon
the curvature and combination of the lens.
77. The second method of stops is the Uniform System,
the numbers of which bear the same ratio to each other as
the area of the diaphragms which they designate. The Uni-
form System has been generally adopted by the manufac-
turers of hand cameras and amateur outfits. We here give
a comparative table:
U. S. 1 equals F. 4
U. S. 4 equals F. 8
U. S. 8 equals F. 11
U. S. 16 equals F. 16
U. S. 32 equals F. 22
U. S. 64 equals F. 32
U. S. 128 equals F. 45
U. S. 256 equals F. 64
78. Kind of Plate to Use. — As better results are pro-
duced with ordinary plates by the average photographer,
until one becomes thoroughly familiar with the workings of
the ordinary plate, it is advisable not to attempt the use of
specially prepared plates requiring more careful treatment.
For general out-door work the ordinary plate should be
used. If one has sufficient experience to use any plate, better
results will be produced with the orthochromatic plate. In
any case the plate used should be a fast one, as it will per-
mit you to make quick exposures even on buildings of dark
or non-actinic colors. When working in crowded thorough-
fares quick exposures are always necessary, so the fastest
plate must be used. While in a fast plate the latitude of
the exposure is greatly reduced, yet one soon becomes ac-
customed to the speed of a plate, and the exposure resolves
itself into a matter of secondary importance. The fast j)late
permits the use of small diaphragms. This is an important
item in architectural work where a great deal of clearness
and detail are absolutely necessary.
79. Orthochromatic Plates. — Where tone effects are de-
sired, such as the proper rendering of color values of a house,
III — 4
64 Library of Practical Photography.
the orthochromatic plate is indispensable. The orthoehro-
matic plate is sensitive to green and red, so where these two
colors predominate this piate may be used to good ad-
vantage. For example, brick buildings surrounded by green
lawns photographed with an orthochromatic plate will give
better values than if the ordinary plate were used.
80. Isochromatic Plates. — The isochromatic plate is
more sensitive to green and yellow. With either of these
plates much clearer sky effects can be obtained. Clouds may
also be more readily preserved with these special plates than
with the ordinary kind. However, until one becomes famil-
iar with the values of special plates, it is advisable to use
the ordinary fast plates.
81. Exposure. — Before making the exposure, one word
more of advice as to focusing. All architectural views
should be absolutely sharp. We advise, therefore, the stop-
ping down, or the using of diaphragm F. 16, or U. S. 16.
Sometimes with a cheaper lens where the lens has not the
covering capacity, and it will not cut sharp to the edge, it is
necessary to stop down to F. 22, or U. S. 32. The exposure
necessary is, therefore, governed first by the conditions of
the strength of light and shadows in the view and second by
the size of the stop used.
82. There are a number of exposure meters in use, also
tables of rules governing the length of exposure. We do not
recommend adopting either of these. On the contrary we
advise the keeping of a memorandum of all exposures, con-
ditions under which they are made, size of stop, etc., and
allow past experiments to be your guide for future expo-
sures. By carefully following instructions one will soon be
able to judge the proper amount of exposure necessary to
produce the best results. You must be governed, however,
by the following rule : If you are stopping down to U. S. 16
and are giving 14 second exposure you must when using stop
U. S. 32 give four times the exposure at least, or 1 second.
Usually 14 to % second is sufficient in a bright sunlight with
a medium stop. The higher the number on the stop the
smaller the opening, consequently, a longer exposure must
Architectural Photography. 65
be given. When more than 14 second exposure is re-
quired, we advise the use of bulb exposure. With the bulb
exposure, by pressing the bulb the shutter is opened, and
when releasing it, it is closed. You will soon accustom your-
self to measure the time required very accurately and by
instinct open and close the shutter properly.
83. Developing. — In the developing of an architectural
view the most essential point is to produce a negative with
snappy highlights, shadows clear, but filled with detail.
Avoid flat negatives. We recommend, in addition to the
regular formula for developing given in Volume II., that
you use a few drops of a 10 per cent, solution of bromide in
the developer. This bromide adds snap to the high-
lights and the shadows are held clear throughout the
developing. If you find the plate slightly under-timed re-
duce the strength of the developer by adding double the
quantity of water. Never under-develop an architectural
view. It would be far better to slightly over-develop and
then, if necessary, reduce the plate after developing.
84. Practice Work. — In applying this instruction
select a residence, or building of any description. One
with projections, porches, etc., is the best. Bear in mind
these few facts.
85. First, an architectural picture should be made in
bright sunlight, otherwise you cannot retain the effect of
trimmings, cornices, etc., and the building will appear flat
in the print. Sunlight supplies highlights, shadows and
proper contrast. Avoid crowding a building or object on
the plate. This is important. Allow plenty of space around
the building, thereby supplying better atmosphere.
86. Obtain a careful focus and exercise care when us-
ing the swing-back. See that the picture is perfectly per-
pendicular on the ground-glass. Use proper stops.
87. Make several views of the same residence, select-
ing varied view-points, making the exposures at different
times of the day to show the effects of various angles of
light. Take one residence in particular and study its light-
ings and various view-points most carefully, making nega-
66 Library; of Practical Photography.
tives of the most marked effects. These records will be of
great importance to you by more thoroughly impressing
upon your memory the preceding instruction. When thor-
oughly familiar with this work, as applied to one particular
color and type of building, it will be advisable to proceed in
like manner to make a few photographs of another building.
For instance, if the first one was light in color, the second
should be quite dark, as this will give you a practical knowl-
edge of the method of handling the two extremes.
88. Proof prints should be made from all experimental
negatives, and full data placed on the back of each. File
these proofs in your proof file for future reference.
CHAPTER III.
ARCHITECTURAL PHOTOGRAPHY.
Part III.
Detailed Instruction.
89. The Photographing of Buildings with Figures In-
troduced, Public Buildings, Commercial Buildings, Photo-
graphing Streets, Photographing High Brildings in Sec-
tions, etc., are the subjects of this instruction.
90. Carefully follow the instructions given in Part
II, Architectural Photography, the photographing of resi-
dences and ordinary buildings, and the instruction given on
point of view, perspectives, lines, location of horizon, light,
shade and shadows, the effects of long and short shadows,
etc. All of the above will assist you in preparing the work
of Part III, Architectural Photography.
91. Photographing Residences with Figures Intro-
duced.— In Part II you were instructed to photograph a resi-
dence under strong sunlight, requiring very short exposure.
In this portion of the lesson, Part III, the principal object is
to give you experience with exposure and development of
plates made under other conditions — the photographing of
residences with figures introduced. As you have learned
in Part II, all pictures must have some principal object in
the view. In the photographing of buildings and residences,
no matter what the surroundings may be, they must always
be secondary to the principal (the residence). Even where
the presence of life is suggested, the main feature is, of
course, the building, and it must predominate.
67
68 Library) of Practical Photography.
92. For this portion of the lesson, select a private resi-
dence. In choosing the residence you must remember the
instructions of Part II, and profit by the practice you have
had in performing previous lessons.
93. In this picture admit some figures in the view, ar-
ranging them so they will not be crowded or scattered all
over the space. Do not attempt to arrange them in groups
or pyramids and remember they must occupy only a second-
ary position in the'general view, forming a part of the whole
picture.
94. Each figure must be there for a purpose and the
picture must tell its own story. Exercise your best judg-
ment in the arrangement. Bear in mind when introducing
figures into an architectural view, they must be placed there
for a purpose. They must add to and not detract from the
general view. Therefore, to admit too many would spoil
the view, and to have figures appear as if in the act of stand-
ing for a picture would also spoil the effect. You must show
the object for which the picture is made.
95. For example, if you made a picture of a residence,
you might have a couple of ladies in the doorway, one about
to leave and bidding farewell to the hostess ; or a postman
delivering a letter. In this Avay you would be telling a story.
A third or fourth subject could be introduced to good ad-
vantage. If in the summer months, the gardener with a
lawn mower at work on the lawn, a child with a doll playing
by some shrubbery, or several children apparently at play
on the lawn — all these things add to the beauty of a picture
and assist in breaking the monotony of a plain view.
96. By the introduction of figures into a view, in order
to show action on the part of the subject introduced the
exposure must necessarily be quick, and bearing in mind
that the figures are now a part of the view, more softness
is desired and, generally, you can use a large stop and yet
secure a sufficient sharpness of focus. As some lenses work
with plenty of sharpness with a larger diaphragm than
others, a uniform size stop cannot be given for all lenses,
but usually a stop varying from U. S. 4 to U. S, 16 will
Architectural Photography. 69
prove satisfactory. Bear in mind that you want snap, de-
tail, and contrast as well as depth. Remember, the smaller
the stop used the smaller will be the opening, with a
corresponding decrease of illumination upon the plate ; thus,
a longer exposure must be given. For instance, if by using
stop 8, you can make a full-time negative in 1-25 of a
second, for a 16 stop you must give about two times as
much, or about 1-10 of a second.
97. Time Exposures. — The conditions for the work up
to this time have required quick exposures. It is important
that you become thoroughly familiar with all conditions re-
quiring various exposures. In order to acquaint you with
the advantages of and necessity for time exposures, after
having made an exposure of a residence with figures intro-
duced, gather your subjects together, somewhere in the
shade, perhaps on the side steps, or on one end of the porch,
anywhere where they will be protected from direct sun-
light. Always arrange the group facing the direction of the
sunlight. Never point the camera towards the sun, but
rather have the sun back of, or to one side of the instrument.
Even if it is in the shade it will be apt to cause a haze over
the plate. Arrange your grouping in pyramidic form, one
hinging upon the other. When arranging such a group, al-
ways place the principal member first, then group one or two
persons around him, or her, forming a pyramidic group of
two or three. Then if there are more members, add them in
a like manner in additional small groups on each side of and
subordinated to the principal group. Bear in mind there
should always be a principal member to every group, that
your picture must tell a story, and the principal object of the
picture must be visible at first glance.
98. These groups are made in the shade in order to
produce more softness and roundness and overcome the
squinting of eyes, which would be the case if they were made
in bright sunlight. If it is necessary to make a group
picture in sunlight you can overcome, to a certain extent, the
squinting of the eyes by arranging the group with the sun
falling from the side. Have the subjects arranged with
70 Library of Practical Photography.
faces turned from the light. This will throw the faces prin-
cipally in shadow. Then by full timing and careful devel-
oping you may overcome the contrast and at the same time
the eyes will not appear squinted. The arranging of the
group in the shade will necessarily prolong the exposure.
While the preparing of this portion of the lesson will afford
some experience in the arranging of groups, yet the prin-
cipal object is to give you a training with exposure and
development of plates made under different circumstances.
99. Exposure. — When making an exposure of a resi-
dence, under strong sunlight, you judge the time required
by the strength of the sunlight on the building, and time
for the highlights. By highlights we mean the portion of
the building which appears the brightest. If the sun be
strong, the highlights on the building will show great
strength and the shadows in consequence would be very
dense. The fact that the shadows are dense adds to the
beauty and appearance of the residence, making it neces-
sary to retain the shadows in their dense form. Because of
this you expose the plate only long enough to fully time the
highlights, allowing the shadows to take care of themselves.
Should you time for the shadows, which ordinarily require
four times the exposure, you will over-time the highlights.
The highlights and shadows will run together, caused by
the fog produced by the over-exposure of the highlights.
When photographing a group in the shade, you have no
strong highlights, but many half-tones, the strength of
the light being very much reduced. In such a case you must
time for the most dense shadows, as the difference between
the highest lights and the most dense shadows, if all are in
subdued light (or shade), will be so little that it does not
affect the values of either. When photographing groups,
objects or any object, in the shade, calculate on sufficient
time to give nice detail in the shadows.
100. If you should make an exposure of a residence in
bright sunlight, exposing 1-25 of a second, to fully time a
group made in the shade you would expose 1-5 of a second,
or about four times as long as you would if subjects were
o
1 h ,-.
PUBL.
Illustration No. 20 — See ParaKiaiih Xn. 102
d
Illustration No. 21
See Paragraphs No. 30 and 106
Illustration No. 22
See Paragraphs No. 30 and 106
Architectural Photograph]). 73
placed in the sun. Much, of course, depends upon the sub-
ject and drapery as well as surroundings. For instance, if
you should have green foliage for a background, it would
necessarily prolong the exposure to double that required
for a more neutral tint. As green foliage absorbs the light
more and photographs blacker than black painted walls,
where such backgrounds exist you must time accordingly.
101. Stops to Use. — The size of the stops to use in
making group pictures will depend upon the lens employed.
For portraiture you do not want extremely sharp, wiry
effects, so focus with an open lens. In arranging your group,
should it be a large one, adopt the form of a semi-circle,
placing all members of the group at about the same dis-
tance from the lens. In this way you will be able to obtain
a good focus, and sufficient sharpness with a medium sized
stop — usually F. 8 will be sufficient. With this large stop,
1 second exposure should be about right.
102. Commercial Buildings and Business Thorough-
fares.— In photographing commercial buildings and busi-
ness streets, proper effects can only be obtained when there
is animation and life presented in the picture. For instance,
they should show people looking at window displays and
walking along the sidewalks, wagons and ears in motion;
in fact, everything that goes to make a business thorough-
fare. If a single building bearing a flag staff is being pho-
tographed, the flag should be flying. If it is a factory and
there are smoke stacks, smoke should issue from them. To
illustrate: Compare the effect of a picture of a large de-
partment store made when the streets are deserted, with one
where the people are looking in the windows, customers
going in and out of the store, express wagons delivering, etc.
You will readily see that the last picture will tell a story,
while the former is misleading and gives a false impression,
(See Illustration No. 20).
103. Public Buildings, Banks, Office Buildings,
Churches, etc. — In photographing such buildings, or street
scenes, it is absolutely necessary that the lens used be a
rapid one. The rectilinear type is the best, as it will cover
74 Library of Practical Photography.
the entire plate sharply without using a small stop. The
extreme speed of the shutter should be applied, a fast plate
should be used and, of course, such pictures should only be
made in bright sunlight.
104. Public buildings are usually located along busy
thoroughfares and frequently it is difficult to obtain the
proper light to give as much prominence as possible. Bank
buildings, for instance, are usually low and squatty and
should be photographed under a high sun, which will supply
long and almost perpendicular shadows. With a high sun
and a low view-point the building will appear tall.
105. The Best Time of Day for Making Architectural
Views. — At mid-day the sun, being directly overhead, will
hardly lend any artistic shadows to the picture. The
shadows on the building caused by projections and trim-
mings, will be long and perpendicular. Usually short
shadows in proportion to the size of the building produce
the best results.
106. Making Exposures at Mid-day. — There are build-
ings, however, so located that if photographed near the noon
hour the projections supplying long perpendicular shadows
produce good effects. We reproduce herewith such a build-
ing. (See Illustrations Nos. 21-22). As this building is quite
wide in proportion to height, it appears to better advantage
photographed at or near noon, when the sun is highest.
You may then obtain the longest shadows possible and these
add to the apparent height. This building faces southwest
and if photographed an hour earlier would have no sun-
light on the front, an hour later none on the side. Besides,
being located in a business block, the buildings opposite
would then throw heavy, objectionable shadows into the
view. Illustration No. 22 was taken a trifle later with the
sun under a cloud, and is a good example of the flat, undesir-
able results obtained by photographing a building of such
proportions with no long shadows to add to the height and
give relief to the ornamental decorations. Although Illus-
tration No. 22 was diaphragmed down in order to accent
Architectural Photograph}). 75
the shadows, and the plate was developed so as to obtain
all the strength possible, it does not compare with plate No,
21.
107. Cloud Effects. — Where clouds are to be retained
the exposure must be a rapid one. The building should be
photographed at quite a distance to obtain more of a general
view, admitting plenty of sky and foreground. There will
then be no dense shadows to overcome, and an exposure
sufficient for the sky will be ample for the building and fore-
ground.
It is not often possible to obtain clouds at the time you
are prepared to make the picture. In such cases if clouds
are desired in the view they may be printed in from a cloud
negative. For printing clouds, see Volume IV.
108. Churches. — Churches, like private residences, are
usually built with considerable space surrounding them,
and, therefore, generally permit of being photographed in
the same way.
There are times where churches are so located that
strong sunlight does not fall on the front part ; then again,
the colors of the building are so dark and non-actinic that
quick exposures cannot be made. In such cases it is best to
make the photograph with a slightly clouded sky. In order
to increase the contrast between the highlights and shadows,
use a smaller stop and give the same time that you would if
a stop a size larger was used. In this way you may slightly
under-time the shadows, making them stronger (blacker),
thereby giving more contrast.
109. Contrast and Snappy Effects on Cloudy Days. —
You can greatly increase the contrast between highlights
and shadows, even in weak sunlight, by using a smaller
stop than usual, giving the same time as if the sun was
brighter. In this way you accent the shadows, thereby pro-
ducing more snappy results. A good rule to follow when
you desire more contrast in the view, is to use a smaller
stop. Experiment by looking on the ground-glass with the
different size stops. Whatever effect is visible ou the
76 Library of Practical Photography.
ground-glass can be secured on the plate by correct expo-
sure and proper development.
110. While there is considerable latitude for exposure
in architectural photography, one should aim for as nearly
correct exposure as possible. When judging an exposure,
we will say, for instance, your highlights are very strong
and the object is light-colored; 1-50 of a second would be
sufficient to give you a full-timed plate with snappy
shadows. If, however, the object is of a dark, non-actinic
color, and you should time for these colors you would ex-
pose for a full second. In doing so you would over-time the
highlights. Therefore, the time should be divided. If 1-50
second is sufficient for highlights on a light colored object,
and 1 second necessary for full time on a dark colored object,
1/^ second would give you sufficient detail in the shadows of
the dark colored object and would not injure the high-
lights.
111. Usually in photographing high buildings, busi-
ness blocks, etc., the extreme use of the swing-back is re-
quired in order to obtain rectilinear lines. To produce
sharpness on the plate, a small stop must be used.
112. Moving Objects. — If people are passing the build-
ing to be photographed, it is advisable to use the smallest
stop and give an accordingly long exposure. Persons pass-
ing, as long as they keep moving, will not obstruct the view
nor will any blur be registered on the plate. If the expo-
sure is a short one, the blur will be registered, but with a
long exposure the difficulty is overcome. See Illustration
No. 24. If there are crowds of people passing, it would be
impossible with any length of exposure to overcome the
blur, but with a few pedestrians the view is obstructed so
little that the plate is not affected.
113. With an automatic shutter, during a long expo-
sure you may close the shutter while persons are passing and
open immediately after they have passed. As the shutter
will not jar the camera there will be no vibration, so the
shutter can be opened and closed as often as necessary.
114. Combination Pictures. — There are times when the
C ■iSM-
Illustration No. 24
See Paragraph No. 112
Architectural Photograph}). 79
height of the building is so great that the distance in which
a camera can be worked from the ground level is insuffi-
cient to take in the entire height. To overcome this it will
be necessary to make the view from an elevated point,
generally in an opposite building, from a third or fourth
floor window. This, of course, raises the horizon line but is
unavoidable.
115. In large cities, where the streets are narrow and
buildings are high, a front view of a building is fre-
quently desired. Such a picture must be made in sections.
In a case of this kind the camera must be operated from an
opposite building as nearly one-third the total height of
the building to be photographed as is possible. The camera
must be perfectly level for the first exposure and the front
board or rising front must be lowered to the extreme, taking
in the base of the building and the walk below and as high
up as the first plate will cover. If it is impossible to reach
the street without tilting the camera downward, it will be
necessary to bring the swing-back into play, tilting it back-
ward until the ground-glass is perfectly perpendicular with
the building. After the first exposure is made — without
moving the tripod but raising the front board and perhaps,
leveling the camera and adjusting the swing-back — take an-
other section, making due allowance for sufficient lap to trim
and square nicely. This time it will hardly be necessary to
use the swing-back.
116. After the second exposure raise the front board or
rising front sufficiently to admit of the third section, and, if
necessary, make use of the swing-back to give perpendicular
lines. If the third section does not take in all of the build-
ing, a fourth section can be made by raising the rising front
and lens to its limit, and possibly tilting the camera may be
necessary to admit the entire building into the view. The
swing-back should be used carefully, as the ground-glass
must be perpendicular with the building in every exposure,
or distortion will result.
117. Negatives of the different sections can be squared
and cut to match perfectly. All of these negatives may be
80 Library of Practical Photograph}^.
placed in a large printing frame, permitting one solid print
to be made from the combination. Witt a little dodging
and spotting, lines that may show the joining can be re-
moved. If platinum paper is used for printing, applying a
little crayon, or using the air brush will enable one to work
out any line visible in the print.
118. Developing. — Architectural views made under a
clouded sky with small stops and long exposures should be
developed slowly. In order to restrain the plate and keep
it free from fog, several drops of a 10 per cent, bromide
solution should be added to the developer. This will keep
the shadows clear, and a splendid crisp negative will be the
result.
119. Recording Results. — It is very important that
careful record be kept during all experiments. The time of
exposure, conditions governing light, number of each plate
and kind of plate, developer, etc., are of great value; for
upon the accuracy of these records depends, to a great ex-
tent, your future success, as you should profit by these
first results. Make good proof prints from each experiment,
making notations on the back and preserve them in your
proof file for future guidance.
CHAPTER IV.
DIFFICULTIES— ARCHITECTUEAL PHOTOGRAPHY.
120. Obtaining Proper Angle of Light. — This is thoroughly taken
up in Paragraphs 74. Study the effect of light at different times of the
day and when you find the time that projections and trimmings stand
out in bold relief, make an exposure. If the building is high or low,
watch the effects of the sun at various times of day. It is a good plan
to study this at all times, even though you do not intend to photo-
graph a building. It is a good practice and by so doing you are
training your eye. In a short time you will have little trouble in se-
lecting the proper time for making exposures and obtaining correct
angles of light.
121. Obtaining. Straight Lines on Ground-glass. — If your camera
is equipped with a swing-back, you can readily overcome this dif-
ficulty. First place your camera in proper position to take in the
entire building, making use of the rising front to which the lens is
attached. Next push out the swing-back at the bottom, providing it
is a swing-back which is hinged or pivoted at the center. If the
back swings from the bed of the camera, you must tip the back of the
camera forward. In either case adjust the swing-back so that the
vertical lines will come true with the lines of the ground-glass
(focusing screen). If your camera is supplied only with a rising
front, place the instrument perfectly level and then push up the rising
front. If the building is very high, it is advisable to make the ex-
posure from a second-story window on the opposite side of the street.
This should always be done where one has neither rising front nor
swing-back attachments as, for example, in a box or a hand camera.
If there is no convenient building or raised ground on the opposite
side of the street, you had better not attempt to photograph an ex-
tremely high building as the resulting picture will be bad. The build-
ing would be broad at the bottom and narrow at the top and in
extreme cases would assume the shape of a pyramid.
81
82 Library) of Practical Photograph}).
122. Working in Close Quarters. — When meeting this difficulty,
which is generally caused by narrow streets, the only thing you can do
is to use a wide-angled lens, 'but you must bear in mind that the per-
spective will suffer and it is advisable to make the image very small,
because in a small image the false perspective will not show so
strongly:.
123. Obtaining Sharp Focus on Extreme Distance. — Always "focus
on the front of the building. Get this as sharp as possible without
the use of a stop or diaphragm, and then stop down until the ex-
treme distance is sharp. In such cases this is entirely governed by
the cutting depth of the lens, but in most cases stop U. S. 32 or F. 22
will produce the desired results.
124. Image Very Thin and Hazy on Ground-glass (Focusing
Screen). — If the camera is pointed toward the sun, the lens is affected
as is the eye when looking directly into the sun. Everything appears
hazy and dim. If the sun is to the extreme side of the camera, a sun
ray may strike the edge of the lens tube and reflect directly into the
lens, causing the above effect. In mid-winter if the camera is taken
from a warm room into the cold, the change of the temperature will
cause a moisture to gather on the lens and also on the ground-glass.
All lenses, but more particularly those that are mounted closely, like
the anastigmat variety, are extremely sensitive to the change of
temperature. Moisture gathers very rapidly on them, and every time
the moisture is allowed to dry it leaves a slight scum, a scum which is
similar to that found on windows which have been steamed. This
scum will in time affect the working of the lens, producing effects of
both haziness and halation. Therefore, always carefully wipe with a
soft cloth both lens and ground-glass before making an exposure.
Occasionally take the lens apart and wipe the inside lens. You will
often find it is necessary to use alcohol to thoroughly cleanse the lens.
125. Obtaining Less Foreground or Sky. — This difficulty can be
readily overcome by the use of the rising front to which the lens is
attached. By raising it you will obtain more sky, and by lowering,
more foreground. If the camera does not possess a rising front, lower
the tripod by either spreading or shortening the legs for more fore-
ground, and raising for more sky.
126. Sky in Negative Too Thin, Producing a Print With Dark
or Gray Sky. — This is always the result of over-exposure and then
not treating the plate for an over-exposure during development. (See
lesson on Developing Over-exposures, Vol. II.)
127. Building Having the Appearance of Being Roofless. — This
effect is produced by placing the camera too near the building to be
photographed, and then pointing the camera upward. (See Paragraphs
48-49, Part II, Chapter II.
Difficulties — Architectural Photography. 83
128. Judging Proper Exposure. — Only close observation and prac-
tice can teach you this. A good plan is to keep a memorandum of all
exposures, time of day, condition of light, etc., etc. When during
development you find a plate under or over-exposed, make an ad-
ditional note under the original memorandum of this exposure and
be governed by this experience next time you are making an exposure
under the same or similar conditions. This is a good practice and
you will, after some experience with different conditions, so train
yourself that there will be little or no guessing about exposing.
129. Fogging of the Plate During Development. — With ordinary
exposure there is little difficulty with this. The fog generally pro-
duced is a chemical fog caused by over-exposure. (See lesson "Dry
Plate Developing," Vol. II.) During development it is advisable to
keep the tray containing the plate away from the direct ruby light.
During the development of an over-timed plate it is a good plan to
cover the tray, being careful, however, to rock the tray occasionally.
130. Long Shadows. — To obtain long shadows on the building it
is necessary to make the exposure when the sun is high. All pro-
jections on the building will then cast long perpendicular shadows on
the building and have a tendency to make a low building appear
higher.
131. Short Shadows. — To obtain short shadows on a building the
exposure must be made when the sun is low. All projections will
then cast horizontal shadows on the building and these shadows will
have a tendency to make a tall building appear lower.
132. Effect of Horizon.— If the horizon is low the building will
appear high. If it is high the effect will be just the reverse.
133. Arranging Figures in a View.— This difficulty you can
readily overcome after a little experience. Always introduce the
subjects in such a manner that they will appear occupied and not as
though they were having a picture taken.
134. Figures Very Small When Entire Building is Shown.— As
this is not intended to be a portrait of subjects introduced, but a
picture of the building, the building being many times larger than the
subject, you will not be expected to make the figures appear large.
If they are placed well in the foreground they will appear larger in
proportion to the size of the building. The figures are only intro-
duced to add life to the picture.
135. Arranging Groups in Pyramidical Form. — By this we mean
a group arranged in such a manner that it is wide at the bottom,
terminating in a point at the top. For example, if you have a group
of ten people, arrange the principal and two other figures first. The
III— 5
84 Library of Practical Photography.
head of the principal subject thould be a trifle higher than the other
two and one of the two a trifle lower than the other, both reclining
towards the principal. Thesg first three constitute a little pyramid
and are the principal of the group. Add groups of two on either
side below the principal group, and then fill in the remaining three
in the rear of the principal, being careful that each subject is placed
between and not back of each other. In this way you will form a
number of pyramids in the same group with the end members all
reclining towards the center.
136. Judging Exposure for Groups. — Only careful observation
and keeping a memorandum of exposures can teach you this. If you
have made an exposure and find in the developing that the plate is
over-exposed, make a note of it under the memorandum you have
already made of this exposure, and then when you have another group
to make under the same or similar conditions, give less exposure and
in a very short time you will be able to properly judge correct ex-
posure.
137. Background of Group Very Light, Faces of Subjects Dark.
— This effect is produced when you face your subjects in the wrong
direction. Even though the group is being taken in the shade, you
should always face them in the direction from which the strongest
light comes, or where the sun would be if it were shining. This rule
also holds good on a cloudy day. If you fail to do this the light will
be stronger behind the group than in front, consequently you will pro-
duce an effect of halation, which makes the faces appear dark and the
background light.
138. Understanding What Colors are Non-Actinic. — The colors
which are non-actinic are red, black, green, yellow, and any colors
with any of these shades in them.
139. Subjects Passing by Building Being Photographed Causing
a Blur. — The only way to overcome this is to use an extremely small
stop and make frequent exposures. When you find that there are only
one or two subjects passing and they are not directly in front of the
lens, make your exposure, simply opening and closing the shutter. You
may have to do this many times before you get the required exposure.
Oftentimes when photographing the interior of stores it is necessary to
uncap the lens or open the shutter a dozen or more times in order to
get half an hour's exposure, but the result that is produced well
repays for the time spent, as there will be no sign of any blur in the
picture.
140. Center of Plate Sharp, Ends Out of Focus, Appearing
Blurred. — This clearly shows that the lens does not cover the entire
plate or it was necessary to use the swing-back to an extreme. This
difficulty can be overcome by using a small stop.
Difficulties — Architectural Photograph]). 85
141. Objectionable Shadows on Buildings. — To overcome this
difficulty it is necessary to select a time of day when the buildings
and trees on the opposite side of the street do not cast a shadow on
the building which is being photographed.
142. Building Standing on Level Ground Appearing Elevated in
Picture. — This effect is generally produced by the camera being placed
too low, supplying too much foreground.
143. Tripod Slipping on Polished Floors. — When impossible to
make the tripod legs hold to the floor you should lay a small piece of
carpet or a rug down and stand the tripod on it. Small flat blocks
of rubber may be employed for this purpose, or a triangular frame
made of wood, the sides being not less than 30 inches long.
#
CHAPTER V.
LANDSCAPE AND GENERAL VIEW PHOTOGRAPHY.
144. Introduction. — We have been taught that all our
relations with the outer world are maintained by five senses
— sight, hearing, smell, taste and feeling — but it is now a
very generally conceded fact that a larger number of senses
exist.
145. Artistic Perception should by all means be included
among the additions to the list of senses, as it embodies the
power or faculty to see and, to a greater or less extent, in-
terpret the beautiful in Nature and in Art. This is cer-
tainly a thing quite apart from the mere physical sense of
sight.
146. The difference between artistic sight and ordinary
sight is that, generally speaking, mankind does not look for
the beauties and impression of truths that the artist strives
to see and interpret. The average man uses his eyes as a
means of securing information; for instance, if you wish to
know what time it is, you look at the clock ; but if you are
careless about the time, you may look at the clock and not
see the hour it marks.
147. What you actually see is governed by very com-
plex conditions of faculties, experience and education. What
one person sees another either does not or cannot see. As
the world in general is not thinking of, nor looking for,
beauty in Nature with reference to Art, it seldom sees the
aesthetic side at all. Sometimes, however, it is observed,
but in a very imperfect manner.
148. On every side we see persons, cameras or kodaks
in hand, ready to *'snap" at anything, regardless of inter-
est or beauty expressed m the subject. Perhaps it is an
87
88 Library of Practical Photography.
historic building, a monument, a bridge, a bit of landscape
which holds charms of qhildhood days; or something else
you can give a name. But even in these instances little
thought is given to obtaining the most pleasing effect.
149. The predominating thought of the photographic
enthusiast seems to be concentrated on having the house, or
whatever it may be, come in the center of the plate, with
nothing in the way. Such people have yet to learn to see
in an artistic sense.
150. It is said that the artist, like the poet, has to be
born, not made, and in some individuals the sense of artis-
tic perception seems to be perfectly natural, while in others
it may exist in only a latent degree, waiting for an oppor-
tunity to be developed.
151. Whatever may be the inborn gift, actual success
as an artistic worker can only be attained by careful and
conscientious study of Nature and of Art. He who studies
the character of form, light and shade, and examines and
compares their effects and the manner in which they are
combined and arranged, will be all the better able to dis-
cover and enjoy natural scenery. No matter how much you
might otherwise have appreciated it, your enjoyment will
be greatly increased if you look at Nature with the eye of an
artist, and know why it is beautiful.
152. Men see but little of what is before their eyes, un-
less the mind is trained to use the sight in a special way. If
an artist, a scientist, and an untrained and unobservant
person take a walk into the country together, the attention
of the artist will be immediately directed toward the effects
of light, shade, form and tone; the scientist may have his
attention concentrated just as intently, but what he sees will
be of a different character entirely ; while the unobservant
person, as far as mental effect is concerned, will see ab-
solutely nothing at all, and might as well have gone along
with his eyes shut.
153. It is the business of the pictorial photographer to
see, and by seeing appreciate what this sense has favored
him with. This power of artistic perception is best cultivated
Landscape and General View Photography. 89
by earnest study of the principles of Art which have been
the guide in producing the great works of famous artists.
154. You should take advantage of every opportunity
to visit picture galleries, exhibitions of art work of all
kinds, and of studying the reproductions of old masters,
which may be found in practically all of the modern maga-
zines. A careful study should also be made of the illus-
trations in this library, as they are the results of the efforts
on the part of leading photographers to learn and apply
artistic principles in the most simple and pleasing manner.
155. This Volume III should, of course, receive your
most concentrated attention, as it contains the actual train-
ing that will lead you to see, appreciate and apply the
artistic sense to your photographic work. Do not allow the
study of Art nor the principles which you acquire through
the study of the following chapters to bind you and keep
you in a hard, straight "rut." This instruction should
simply act as a guide to follow and assist you in expressing
your originality.
156. We cannot do better than to impress upon you, if
your aims are pictorial, the necessity of constant study and
application. The ease of performing the various operations
in photography is often fatal and apt to give the idea that
success may be attained with little effort — but nothing could
be wider of the mark. Aim high and do not be discouraged
by occasional failures. Study nature and the following
chapters, and good work will be your reward.
INFORMATION ON CHOICE OF APPARATUS AND
MATERIAL.
157. In no field of photographic work is it possible to
use apparatus as inexpensive as in the making of pictorial
landscapes. It is, however, always advisable before making
an exposure to thoroughly understand the various kinds of
90 Library of Practical Photography.
apparatus that will assist most materially in securing the
best results. It is not necessary that the camera should have
many attachments, but it is important that the bellows be of
sufficient length to accommodate a long focus lens. Such at-
tachments as the rising and falling front and sliding front,
have their advantages and will often come into play. The
swing-back is also a desirable feature, but not absolutely
necessary.
158. Selecting the Lens. — A special lens is not re-
quired for landscape work. In fact a single lens cell will
answer every purpose, as it is not necessary to have it cor-
rected for the various defects found in the average cheap
single lens, which is imperative in the case of architectural
photography. In photographing landscape scenes in which
there are no moving objects, an exposure of considerable
length may be given if required. The single lens can be
stopped down sufficiently to secure any desired depth of
focus. Bear in mind, however, that artistic effects are se-
cured by a certain amount of diffusion, which is lost if the
lens is stopped down to too small an opening.
159. Focal Length. — The lens attached to the average
hand camera is really a superior instrument for artistic land-
scape work, to the more expensive anastigmats. If, however,
it is desired to secure a lens especially for landscape photog-
raphy there are two primary considerations which must be
taken into account ; focal length and angle of viezv. The ques-
tion of focal length presents some difficulties, yet it can be
varied at pleasure between indefinite limits. It is better to
employ a lens of considerable focal length — one that is twice
the length of the greater dimension of the plate will be ap-
proximately correct, as it includes an angle of about 35
degrees. Pictures taken with a lens giving a narrow angle,
present a perfectly natural appearance, and may be viewed
at any distance, but one made with a wide or medium angle
lens must be viewed at close range. Even then the fore-
ground is sure to be exaggerated, and perspective lines are
so increased that a square becomes oblong and a circle an
ellipse. A short focus lens is, of necessity, a wide angle one.
I>R11)CtK
Study No. y — See Page 310
By J. II. Field
»i
w
illustration No. 25
See Paragraphs No.
Illustration No.
164 and 167
26
ij-oj-iU
Landscape and General View Photography. 93
This type of instrument gives too great a depth of focus,
rendering all planes in the scene equally sharp.
160. Angle of View. — The question of angle of viczv has
much to do with what has previously been said regarding
the focal length of the lens ; yet it is of sufficient importance
to consider it separately. The angle of viczv of the resultant
picture is determined by the focal length of the lens, com-
pared with the size of the plate upon which it is to be used.
The a)igle of view of the lens means the greatest angle that
this particular lens is capable of giving when used upon the
largest plate it will cover. Exactly the same results will be
secured on a 4 x 5 plate when using a narrow angle lens of
5 inch focus, as a wide angle one of the same focal length.
However, a wide angle lens of 5 inch focus may be stopped
down to cover sharply to the edge of an 8 x 10 plate, or
even larger.
A narrow angle lens of the same focus, regardless of
stopping, could not be employed for any larger plate than it
was originally intended to cover.
161. Dust. — As dust causes pin-holes on the negative,
you must be sure that your camera, plate-holders and carry-
case have been carefully dusted. In this way you will save
yourself a great deal of time and secure much better results.
162. Halation. — The cause of the halation in the images
produced on modern dry plates is due generally to the re-
flection of the light from the back surface of the glass.
163. In the majority of cases halation is regarded as a
fault, and one that needs correction at any cost, but we dis-
agree with that class of workers who hold rigidly to this
belief. We do not, of course, advocate the wholesale spread
of bright light that is bound to be suggested in bad cases of
halation when photographing certain difficult subjects, but
that a small amount of halation is perfectly natural and
necessary for pictorial purposes cannot be denied by any one
who uses his eyes and observes closely the phenomena of
nature. Let any observer, for instance, look at the bright
sky through a net work of fine branches or foliage. Not only
is the spreading of light in the margins of the shadows
94 Library of Practical Photography.
observable with the eye, but this encroaching ou the shadow
outlines appears perfectly natural and correct. Why, there-
fore, every endeavor shotild be made to make this different
in the rendering of the subject by photography, it is diffi-
cult to say. Halation is, to a certain extent, perfectly
normal, and the lens sees no more than the eye. The dry-
plate, however, occasionally exaggerates what the lens sends
to it, and it is for the correction of this exaggeration only
that steps should be taken for dealing with halation.
164. If you will take a piece of ordinary glass, per-
fectly clean, and hold it at an angle so that the reflected
image of a bright object is seen on its surface — ^the flame of
a candle for instance — it will be observed that there are two
images present and they do not coincide. (See Illustration
No. 25). The brighter image is the reflection from the top
surface of the glass, and the secondary image is reflected
from the back surface. The distance that separates these
two images depends on the thickness of the glass and the
angle at which they are received. It follows, therefore, that
the bright parts of the image projected onto the plate, after
passing through the film, are reflected back onto the film
again, and fog it. As this fog is not clearly defined it pro-
duces the effect called halation, and when a bright light
strikes near the margins of a plate, this spreading of the
light is generally worse, as the angle is greater.
165. Theoretically, of course, halation, under these
circumstances, should not occur if the bright light is in the
center of the plate, i. e., directly opposite the axis of the
lens. There is, however, another form of halation, that also
manifests itself in the modern dry plate, and one that no
amount of backing can remove, and that is the lateral
spreading of the light in the film itself, or irradiation. This
will appear even in the thinnest film.
166. The Effect of Backing.— The immediate effect of
the use of backing can be easily observed by again taking
the piece of clean glass and holding it at an angle, to obtain
the reflection of a candle flame or other bright light.
167. If a dab of backing (as described later) is spread
Landscape and General View Photography. 95
over the under side of the glass, the secondary image will
promptly disappear, leaving only the bright upper surface
image (See Illustration No. 26). The image on the under
surface has been absorbed by the backing, and if the mix-
ture is properly constituted so that it has the same refrac-
tive index as glass, every ray of light that strikes the sur-
face coated with it will be absorbed instead of striking back
and fogging the image above.
168. Non-Halation Plates. — Numerous methods have
been advocated, from time to time, to prevent undue hala-
tion. At the present time most of the leading dry plate
manufacturers supply their plates prepared with two emul-
sions, the one next the glass being very slow, while the
upper emulsion is of regular speed. When the image is ex-
posed on such a plate the rays from the strongest lights will,
of course, quickly penetrate the upper film, but when the
slow emulsion is reached they will proceed with less speed,
and very seldom will the rays of light penetrate through to
the glass. As the object of this plate is to do away with
halation, it is termed a NON-HALATION plate.
169. The Lumiere Non-Halation Plate has instead of
the slow emulsion next to the glass, a coating composed of a
brown pigment, which, of course, holds back all rays of light,
not allowing them to reach the glass. Upon this brown coat-
ing is the regular emulsion. The plate is developed and
fixed in the usual manner. The brown dye is removed in
the fixing bath.
170. Non-halation plates are a great boon to the busy
worker who has neither time nor inclination for backing his
own plates. For those who desire to back their own plates,
there are several methods at hand for expeditiously accom-
plishing the operation in a very satisfactory manner.
171. Methods of Backing. — A printing frame is prob-
ably the best piece of apparatus that can be used to assist
in backing, but when a frame has been once used for this
purpose it should be kept apart, and not employed for any
other purpose.
172. Backing Mixtures. — Caramel dissolved in alcohol
96 Library of Practical Photography.
or water forms the ideal backing mixture. It is for this
reason that the following method of backing plates is recom-
mended, as the mixture not only takes some little time to
dry, but also is very sticky.
173. The following formula is a representative one for
caramel backing, and can be recommended :
Gum solution (ordinary mucilage) 1 oz.
Caramel 1 oz.
Burnt sienna, ground in water 2 ozs.
Mix and add
Alcohol 2 ozs.
174. The plate should be placed in the frame, glass
side out, and a piece of smooth chemically pure, perfectly
dry, fluffless blotting-paper placed on the film side, to pro-
tect it from injury when the back is put in place. The back-
ing mixture is applied with a stubby, soft, hog-hair brush,
and smeared lightly all over the glass surface. Pieces of
tissue paper cut slightly smaller than the size of the plate
should be prepared beforehand. As soon as the backing is
applied, a piece of the tissue should be pressed into contact
with the glass, and gently rubbed down. The plate should
now be removed from the printing frame with the tissue
paper adhering. It will be found that the edges of the
plate are perfectly clean and free from backing. Further
smoothing down of the paper will result in no particle of
backing remaining in view to stick to anything. The plates
can then be put into the plate holders, without danger of the
backing coming off when dry, unless its removal is desired.
All operations of backing must be carried on in the dark rootn,
and as far from the ruby lamp as possible.
175. Another good method of backing plates is as fol-
lows : The backing is composed of burnt sienna mixed with
water, and sufficient dextrine added to make the solution
of a thick, creamy consistence. Upon a sheet of glass some
of the color is distributed, then a roller is passed over the
mixture and applied once or twice to the back of the dry
plate, which will result in a perfectly even coating. If your
desire is to dry the mixture very quickly, methylated spirit
Landscape and General View Photograph];. 97
(alcohol) can be substituted for most of the water. A soft
roller squeegee will answer if the composition roller cannot
be obtained.
176. Backing Sheets.— A very handy method of back-
ing plates quickly and economically is to use backing sheets.
These are composed of stout material, such as tough brown
paper, coated with a film of backing mixture. These sheets
can be squeegeed or pressed into contact with the back of
plates, removed before development, and used again until
worn out. Backing sheets can be prepared as follows : Dis-
solve a quarter of an ounce of glycerine and half an ounce of
gelatine in two ounces of hot water. Add enough India ink
to make a deep black. Coat tough brown paper with this
mixture, and squeegee on to glass to set. Cut this prepared
paper to required size, and when wanted it can be rubbed
with the palm of the hand into contact with the back of the
plate. Remove before development.
177. Another efficient backing is provided by procur-
ing a piece of black carbon tissue. Cut out a piece slightly
smaller than the size of the plate to be used; moisten the
tissue with water. Allow it to become as nearly dry as is
consistent with its remaining limp, then again moisten the
black surface, but this time with glycerine. As carefully as
possible press the tissue against the back of the plate. It
will adhere, and may be removed just before development.
178. Glycerine can be spread evenly on black paper
(which comes in the box of plates), cut to the same size as
the plate employed. These sheets can be pressed into con-
tact with the back of the sensitive plate, care being taken to
remove all air-bells. Remove this backing and rinse off all
glycerine from the plate before developing. Be very careful
not to get any glycerine on the film side of the plate.
179. Colar Corrected Plates.— Not until a thorough
knowledge of the manipulation of ordinary plates has been
obtained should the beginner, or even any photographic
worker, attempt the use of plates which have been corrected
for various color values. When thoroughly accustomed to
the ordinary plate, of good rapidity, then the special plates,
98 Library of Practical Photograph}^.
which will produce the proper color tones and tints, may be
used. It is an added power and enables some work to be
done which could not be^made without it. Color corrected
plates are otherwise known as ORTHOCHROMATIC and
ISOCHRO:\IATIC PLATES.
180. Advantages of Color Corrected Plates. — There is
considerable advantage in employing color corrected plates
in landscape photography. The ordinary plate, being much
more sensitive to blue and violet than to green, yellow and
orange rays, fails entirelj^ to translate the colors of nature
with accuracy into monochrome (one color). This failure
would be more noticeable were it not for the fact that in ad-
dition to the colored light reflected from an object there is a
proportion of white light. The defect is noticeable, how-
ever, even to an untrained eye, for it is a very common thing
to see in the average landscape picture the unnatural dark-
ness of grass, trees, etc.
181. Although it is not claimed that the orthochromatic
plate with a ray filter gives a perfect rendering, there can be
little doubt as to the improvement effected when the ray
filter is employed with plates that are sensitive to yellow
and green. The tone of grass and foliage is better, while the
holding down of the blue by the ray filter enables white
clouds and blue skies to be reproduced with very nearly
their proper color value, and prevents the bluish haze of the
distance from being exaggerated through over-exposure.
182. Ray Filter. — In photographing landscapes, the sky
will be greatly over-exposed by the time a sufficient amount
of detail has been secured in the foreground, as the plate is
extremely sensitive to the blue rays of light. In order that a
perfect register on the plate be made, and that the relative
values exist between the sky and the foreground, some
means must be employed to retard the action of the blue rays
of light. This is accomplished by placing in front of the
lens a yellow screen, or filter, which will absorb a certain
percentage of the blue rays. The rays absorbed, or re-
tarded from acting on the plate, depend entirely upon the
density of the yellow filter. An extremely light colored
Landscape and General Vierv Photograph]). 99
filter may increase the exposure four times and such a filter
is, therefore, called a four-times screen. A darker one may
increase the exposure eight times, hence it is called an eight-
times screen. Where the plate is corrected chiefly for yellow
(as in the case with ordinary brands of orthochromatic and
isochromatic plates) and where the view contains practically
little blue — the predominating colors being green and yel-
low green — it will not be necessary to employ a ray filter.
As a rule, however, the full value of color corrected plates
is not realized until a ray filter is used in conjunction with
them. It is not correct to state, as is sometimes done, that
color corrected plates are of no advantage whatever unless
a screen is employed, for there is always some advantage in
using orthochromatic plates and often a very material im-
provement is obtained by using these plates, even without a
screen.
183. In landscape work there is a tendency almost to
"over-correction" if the yellow light filter is employed, un-
less the photographer is very expert in gauging the ex-
posure.
184. For the average required ray filter a fixed-out
and washed lantern plate, dyed in a solution of yellow color
to a depth sufficient to increase the exposure from five to ten
times, will give a screen suitable for most landscape work.
(See Paragraphs 193, 194 and 195.)
185. THE BICHROMATE OF POTASH RAY FILTER
is simple in construction, consisting of a neat metal ring, in
which is mounted a brass cell, the top and bottom of which
are made of two thin pieces of a high grade optical glass,
with surfaces perfectly plane and parallel. The cell holds a
solution of bichromate of potash. This construction is spe-
cially adapted to the three color process, inasmuch as the
cells may be filled with fluids of any desired color, and the
shades may be easily varied by strengthening or diluting the
solutions, which do not degenerate.
186. This ray filter fits like a cap on the front of the
lens, the most convenient position for attachment or removal,
and is manufactured in four styles.
100 Library^ of Practical Photography^.
187. Style "A," shown in Illustration No. 27, is cork
lined and fits over the hood of the lens. When ordering,
send strip of paper just reaching around the hood.
188. Style "B," Illustration No. 27, has three binding
screws and can be fitted to lenses varying in size from the
diameter at which the cell is listed to one-half inch smaller,
189. Style "I P," Illustration No. 27, is similar to
Style "A," but with the mounting reduced to fit regular
hand cameras 4x5 and 5x7.
190. Style "I F F," Illustration No. 27, is intended
for box cameras with fixed focus lenses, and is attachable
by extra large flanges fastened to the front of the camera.
191. In Illustration No. 28 we show the complete cell
outfit, as manufactured by the Bausch & Lomb Optical Com-
pany.
192. This attachment, by absorbing certain rays from
the light which would otherwise reach the lens, equalizes the
effects which the various component colors in white light
have upon the sensitive photographic plate. Therefore,
practically speaking, the true color values of all objects are
accurately reproduced in the monochrome picture. As is
the case with all correctly made ray filters, over-exposure of
the sky is prevented and detail in the clouds reproduced.
Most of the rays of light which cause halation are absorbed,
and thus halation is practically impossible. Distant objects
appear distinctly in the image, even when photographed
through miles of atmosphere.
193. Home-made Ray Filters. — If you desire to make
your own orthochromatic screen, you will find the follow-
ing experiment very interesting, as well as instructive. In
gaslight take an ordinary lantern plate and fix it, in a solu-
tion of 4 ounces of hypo to one pint of water, for 10 min-
utes ; then wash it for one hour and allow it to dry in a room
free from dust. The plate must be dried in a vertical posi-
tion or in a drying rack. This gives you a piece of glass
which is colorless, and as it contains a transparent coating
of gelatine you can stain it to any desired color by soaking it
for the necessary time in a dye solution. The following solu-
►r "^
xH.
HH O
Illustration No. 29
Attaching liome-Made Screen on Lens
See Paragraph No. 195
Landscape and General View Photography. 103
tion we recommend: Napthol (yellow), 5 grains dissolved
in 4 ounces of distilled water. The dye must be completely
dissolved before the solution is used, and if you have a
funnel and filter paper, filter it in the ordinary manner.
194. After the solution has been carefully filtered and
all sediment removed, take a clean dish and lay in it the
fixed-out lantern plate; then, with an even "sweep," pour
over it the yellow solution, being very careful to avoid any
air bubbles. In about ten minutes time the gelatine film
will have become colored to a pale lemon yellow. You can
now rinse it under the tap and set it up in a perpendicular
position to dry. It is advisable to stain two or three glasses
in this manner to varying depths of yellow. The longer the
glass remains in the solution the deeper the color.
195. How to Attach Home-made Screen. — A piece of
wire long enough to form a loop over the lens barrel should
be secured and be bent in the manner shown in Illustration
No. 29.
196. Disadvantages of Color Corrected Materials. — In
landscape work the use of orthochromatic plates causes in-
creased length of exposure. The color sensitive plate used
without a filter is, in some instances, very little better than
an ordinary plate. It, however, is of value (even used with-
out a filter) when the light is yellow, or when there is an al-
most complete absence of blue in tHe subject and a pre-
dominating amount of yellow. With many subjects the
greater length of exposure is impossible, and in most cases
it is a disadvantage. Of course an exposure of a couple of
seconds is not a long one for a landscape ; but, you will find
it much more advisable, in many cases, to use the ordinary
plate and secure a quick exposure, rather than run the risk
of a total loss of the subject through "blurring" caused by
movement of trees, etc.
197. The increase of exposure is also a serious matter
for the photographer using a hand camera, and in many
cases it is almost an impossibility to use a ray filter of any
depth when the camera is held in the hand, even under the
most favorable conditions. For serious landscape work it is
III — 6
104 Library of Practical Photography.
necessary, however, to employ a tripod, and this difficulty,
therefore, will be overcome.
198. As color corre(5ted plates are sensitive to orange,
yellow and similar shades, there is considerable danger of
fogging the plates during the process of loading the plate
holders and development. Until you have learned how
sensitive an ordinary quick plate really is, and have become
accustomed to the precautions necessary in handling them,
it is much better to leave the orthochromatic plate alone.
(See Vol. II.— Paragraphs 605, 641, 713, 810.)
199. Choice of Subject and Filter. — If pleasing results
in landscape work are desired, a good deal of discrimina-
tion must be exercised in the selection of the ray filter. You
should also be careful in choosing a subject upon which to
use the combination of ray filter and color sensitive plate,
as it is not worth the while to employ them in some cases;
for, as previously stated, the difference in the resulting nega-
tives will be practically unnoticeable. It is hardly neces-
sary to say that orthochromatic plates will in all cases an-
swer where an ordinary plate is used — without a screen —
but it is in landscape work, flower photography, as well as
picture copying and interior work, that the benefit is gained
by the use of color corrected materials.
200. It is quite clear that a good filter will require
a fixed time with the plate for which it is made, and it is
necessary for you to experiment, to a certain extent, with
the color corrected materials before you will be able to
secure accurate exposure. Where short exposures are de-
sired, and especially when using the hand camera, for cloud
photography and for views containing moving objects, the
lightest tinted filter only can be used; while the deeper ones
will produce the best results for general landscape work,
flower photography, and copying colored pictures. But in
using the deeper colors it is necessary to employ a firm sup-
port, preferably a tripod, otherwise, owing to the length of
exposure, a blurred image will result.
CHAPTER VI.
LANDSCAPE AND GENERAL VIEW PHOTOGRAPHY.
Composition.
201. Securing Pictorial Effects. — The photographer is
greatly handicapped, as compared with the painter, inas-
much as he has very limited power to omit from, or add to,
the subject at which his camera is directed. Taking this
into consideration it is advisable to spend considerable time
in studying and selecting the point of view from which it is
desired to make the exposure. If this is not done there is a
liability of some object being misplaced, or some obtrusive
object included, to the detriment of the final result. Your
individual power of selection will overcome any difficulty. By
cultivating your power of observation you will learn to ad-
vance your camera until an unsightly object passes out of
the field of view, or to bodily remove the objectionable
feature, if possible.
202. Selection of View. — Before even setting up your
camera, and previous to considering the making of an ex-
posure, you must decide upon one point in particular:
"Is the viezv worth recording f^^
Perhaps this will seem obvious to you, but it is one of
the chief stumbling blocks to the amateur. It is often very
difficult for him to decide what is worth recording and what
is not. Many persons when first taking up photography go
forth with their cameras and throw common sense to the
winds, wasting plate after plate upon the most useless and
uninteresting subjects — views which have no beauty and no
purpose.
203. Choice of Subjects. — In landscape photography
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106 Library^ of Practical Photograph}).
the selection of the subject and the choosing of the point of
view (position of the camera) are the two most important
things to take into consideration at the start. Do not at-
tempt to look at nature too broadly and generously, as it
is far better to seek for impressions. Do not allow the
charm of strong color and detail to confuse you and thus
lose the proper effect of composition.
204. Excessive Contrasts. — It is necessary to avoid ex-
cessive contrasts in a general way. These types of subject
may look very striking in nature, but the lens and plate are
apt to give a very crude and mechanical rendering of them.
Soft half-tones and delicate gradations are infinitely easier
to secure and reproduce, and in the finished picture are
quite as attractive to the cultured observer.
205. Kinds of Subjects. — There are, practically speak-
ing, two varieties of subjects which allow of being inter-
preted to the best advantage by means of photography:
First, those interesting or beautiful when recorded just as
they are found; second, those whose interest and beauty
depend upon the treatment they receive and the character
and individuality with which they are stamped.
206. Remember, that art cannot he hurried. But don't
lose an opportunity of securing a pictorial effect by taking
up unnecessary time.
207. On going out on your pictorial excursions you
will find it very much to your advantage to go alone, as it
is almost impossible to get your mind settled upon your
work if you have with you a talkative and disconcerting
friend.
208. Elementary Art Principles. — Before entering into
the actual work of taking pictures, it is advisable to dwell
for a short time upon some of the principles and elementary
rules in art. Some photographers contend that there are
no rules in art; yet there are certain conventions, at least,
into which pictures fall.
209. Limitations. — The photographer is denied the use
of color, and is also bound, to a certain extent, by the limita-
tions of his instrument, and must, therefore, rely upon line,
Landscape and General View Photography. 107
form and the great range of gradations between white and
black. The misleading effect of eolor can always be obviated
by employing a piece of blue glass, and with this valuable
adjunct you will be able to secure the true groupings of
light and shade; for by looking through this blue glass you
will realize the monochrome (one color) possibility of the
view. The blue of the glass removes practically all strong
and catchy colors, and gives you simply the black and white
rendering of the scene. Its intelligent use shows that a
scene which is otherwise satisfactory will be often disap-
pointing when reproduced into black and white.
210. Composition. — In judging the merits of a picture
there are a great many points to be taken into consideration,
but of all these various points the composition of the view
(i. e., the arrangement of mass and detail and shade, and
the important and unimportant) is the all-important one.
A scene may present excellent composition, yet make a poor
picture. If you learn the elementary principles of composi-
tion you will, to a certain extent at least, have taken a de-
cided step on the road to successful picture making. Bear
in mind, however, that the art of composition is, to a very
marked degree, a sense, and it is necessary to appreciate
and to be able to see with an artistic eye the predominating
objects and the general view upon the ground-glass at a
glance.
211. There is a similarity between the feeling of a per-
son who appreciates music and the one who can understand
correct arrangement in composition. Often a non-educated
ear will prefer poor music to good music. The same prin-
ciple holds good with the eye untrained in pictorial com-
position, as it may even prefer the bad to the good. It is
possible to develop the pictorial sense, however, in a man-
ner similar to the education of the musical taste, providing
you are willing to learn and will not insist upon certain
preferences which you have no good grounds to hold.
212. The Best Way to Compose a Picture. — After hav-
ing a reason for photographing a subject, you must recog-
nize that there is a best way to make the record. You must
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Library of Practical Photography.
find that way by selecting the most appropriate point of
view from which to make the exposure, as well as to ar-
range the various items and masses upon the ground-glass,
so they will be well balanced and properly composed.
213. The Principal Object of Interest. — Another vital
point in composition is : TJicrc must be a principal object of
interest in the picture, and that object must be put in the right
place, not only zvith regard to the spacing of the negative, but
also in relationship to the other details of the picture. For this
-^e
•^e
^i
^EAK
^^
Illustration No. 30
purpose you will find it an excellent plan to rule your
ground-glass in the manner indicated on the accompanying
diagram (see Illustration No. 30.) The crosses indicate the
positions of strength ; the weakest part of the space is the
center. The principal object of the picture, therefore,
should be placed very close to where the lines intersect;
that is to say, near, but not in, the middle of the picture.
Of the two sides the left is stronger than the right. Therefore,
a picture having its most important masses on the left side
is, as a rule, more satisfactory than when the reverse is the
case. You can see this very readily by selecting a negative
which is "one sided" and comparing the effects produced
Landscape and General View Photography. 109
by viewing it; first, liolding the film side toward you, then
turning it around and viewing from the glass side.
214. Subordination. — Having secured a principal ob-
ject in the picture space and placed it in proper position,
it is necessary to next consider the placing of the remaining
subjects or points of interest. In other words, it is neces-
sary to so handle the various items in the picture space that
the principal object zvill stand out in greatest proniincnec, all other
portions being snbordinate — the eye must not be distracted
by counter attractions in other parts of the picture. You will, no
doubt, find this principle the most difficult one to carry out,
for it not only involves a knowledge of composition and an
ability to employ this knowledge in your actual work, but
also the exercise of proper treatment in the developing and
printing of the photograph, whereby certain details can be
suppressed and others strengthened.
215. Harmony. — Each picture must present a harmo-
nious whole, and there must be no intrusion of details that
stand out in the picture to destroy the original idea. This
principle is very easily violated by introducing unsuitable
figures into the landscape. If figures are introduced into
the scene their dress and general appearance must conform
to the idea that you intend to convey in the view. If the
preceding principles have been carefully carried out, this
Law of Harmony will, practically speaking, have been taken
care of.
216. Balance. — The final, and perhaps the most vital,
point for consideration is the Law of Balance, or the filling
up of the picture space. Above all things the unity of the
picture is of the greatest importance, and it is very neces-
sary to secure this unity, or balance, on the ground-glass of
the camera, and thus have it in the resulting negative. It
is possible, however, if the correct balance is not secured
in the negative, to trim the resulting print (see Trimming
and Mounting, Volume IV), which will help wonderfully.
If, however, the correct distribution of the masses can be
obtained without trimming, the general effect will be much
better.
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Librar]) of Practical Photograph]^.
217. Pulling Power of Picture Space. — Each and every
part of the picture has a certain amount of pulling power :
that is, each and every section claims attention, and might
be termed a magnet — each one having a certain amount
of attraction for the eye, and in obtaining attention for it-
self weakening to a greater or less extent some other point
of attraction in the picture.
218. The Steelyard. — In his excellent book on "Pic-
torial Composition," Mr. Henry R. Poore makes liberal use
of the steelyard principle of balance, which he clearly ex-
plains in the following manner:
Illustration No. 31
219. "On the principle of the steelyard (see Illustration
31), the farther from the center and more isolated an object
is, the greater its weight or attraction. Therefore, in the
balance of a picture it will be found that a very important
object placed but a short distance from the center may be
balanced by a very small object on the other side of the
center and further removed from it. The whole of the pic-
torial interest may be on one side of a picture and the other
side be practically useless as far as picturesqueness or story-
telling opportunity is concerned, but which finds its reason
for existing in the balance, and that alone.
220. "In the emptiness of the opposing half such a
picture, when completely in balance, will have some bit of
detail or accent which the eye in its circular symmetrical
THElviwroF:
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'^OJUni
'^ NEV/ YORK
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Landscape and General View Photography. 1 1 3
inspection will catch, unconsciously, and weave into its cal-
culation of balance ; or if not an object or accent or line of
attraction, then some technical quality, or spiritual quality,
such, for example, as a strong feeling of gloom, or depth for
penetration, light or dark, a place in fact, for the eye to
dwell upon as an important part in connection with the
subject proper, and recognized as such.
221. " 'But,' the querist demands, 'if all the subject is
on one side of the center and the other side depends for its
existence on a balancing space or accent only, why not cut
it off ?' Do so. Then you will have the entire subject in one-
half the space to be sure, but its harmony or balance will
depend on the equipoise when pivoted on the new center. ' '
222. "It is not maintained that every good picture can
show this complete balance; but the claim is made that the
striving on the part of its designer has been in the direction
of this balance, and that, had it been secured, the picture
would have been that much better."
223. "It is easy to recognize a good composition; to
tell why it is good may be difficult ; to tell how it could be
made better is what the art worker desires to know. Let
the student when in doubt weigh out his picture in the bal-
ances mindful that the principle of the steelyard covers the
items in the depth as well as across the breadth of the
picture. ' '
224. Another rule which you should bear in mind is:
"Where the subject is on one side of the center it must ex-
ist close to the center, or, in that degree in which it departs
from the center show positive anchorage to the other side."
Frequently, where the subject matter appears to one side of
the center and the opposite side contains practically nothing
of importance, there should be in this space some detail
or unit of attraction which the eye will catch when viewing
the picture as a whole.
225. Referring to Study No. 13, "Calling the Ferry-
man," by Nancy F. Cones, we have the strongest items, or
masses of interest located very near the center, these being
the two children. If the larger child did not appear in the
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picture the smaller one would occupy the undesirable cen-
tral position, but as the picture now stands these two sub-
jects could not have been better placed. Notice that they
occupy a position in the left-hand side of the picture. The
small item of interest or weight on the opposite side is the
ferryman in his boat. Observe further, that this item, al-
though very small, balances the two items in the fore-
ground, carrjnng out tAvo principles of balance; the first
tail ^
a
f
Illustration No. 32
being, that an object located near the margin of a picture
has a greater weight than one near the center; and second,
an item or object in the distance has greater weight than
one in the foreground. This picture is an excellent example
of the steelyard principle of balance. (See page 130.)
The simplest of pictures may have practically no detail .
Landscape and General VieTp Photograph'^. 1 1 5
on the side opposite the principle item of interest, the artist
having left a stretch of space which in itself balances the
mass on the opposite side. The technical quality on this
practically blank side of the picture may be expressed in
various ways. For example, it may express a strong feel-
ing of gloom, depth of penetration, light or dark, something
at least upon which the eye can rest, if only for a moment.
22G. Artistic Bisection of a Line. — In order that you
may understand more clearly why a subject should be lo-
cated either to right or left of the center, or above or below
the center of a picture, we will go into detail regarding the
dividing of a straight line in the proportions which will
give the most pleasing effect.
227. In Figure 32 is illustrated a series of straight
lines divided by short cross lines. Look at these lines care-
fully and you will probably feel that the lines A, B and C
are divided in a more pleasing manner than F, G and H. In
other words, if a straight vertical line is to be divided into
two unequal parts, you prefer to have the division come
above the middle. This is not an altogether unimportant
fact.
228. In judging vertical distances, we almost always
over-estimate the upper half. For this reason the line E,
which is divided into two equal parts, appears to be divided
into two slightly unequal parts, and the lower section seems
to be the smaller. The line D is divided at a point slightly
above the middle, but it appears to be divided into two
exactly equal parts. Many persons would say that the line
D is more pleasing than E, for D appears to be divided into
two equal parts, while E appears as if an unsuccessful at-
tempt had been made to divide the line into two equal parts.
229. Line D appears to be perfectly symmetrical — its
two parts appear equal. The symmetry about this division
pleases us, and most persons would say that this line, which
is divided symmetrically, is more pleasing than A or H,
which are not divided symmetrically.
230. The two parts of the lines A, B, G and H appear
too unequal, and the two parts of line E appear too nearly
116 Library of Practical Photography.
equal. Lines C and F are very pleasing. They have divis-
ions which do not seem to be too much alike, so the divisions
give diversity. The parfe are not so different that they de-
stroy the feeling of unity in the line. A line is pleasing if
its two parts are not too much alike and not too different.
The ratio of the smaller section of the line to the larger
section in C and F is approximately that of 3 to 5. That is
to say, if a vertical line is eight inches long, the result is
pleasing if the line is divided into two sections which are
respectively 3 and 5 inches long.
231. Exact experimentation and measurements of
artistic productions show that there is a reasonable prefer-
ence for this ratio, which is known as the "golden section."
The exact ratio is that of 1 to 1.618, which is approxi-
mately that of 3 to 5. A line is divided most artistically if
the lower section is 1.618 times as great as the upper. Al-
though the fraction seems very formidable, it is the arithmet-
ical expression of a simple proportion, which is this : The
short section is to the longer section as the longer section
is to the sum of both sections. Any division of a line which
approximates this "golden section" is pleasing, but a di-
vision which approximates the symmetrical division (and is
not quite symmetrical) is displeasing. This explains why
the principal object of importance in a picture should not
be placed in the center of the picture space.
232. If you hold Figure 32 sideways, the lines will be
changed from vertical to horizontal. The divisions will now
assume a new relation. The divisions of lines A, B and C
cease to be more pleasing than those of F, G and H. This
shows why the main subject of a picture looks more pleas-
ing on the left side. E now seems to be divided symmet-
rically and is more pleasing than D. In fact, for most per-
sons the symmetrical divisions of E seem to be more pleas-
ing than those of even C and F, which are divided accord-
ing to the ratio of the "golden section." The most pleas-
ing division of a horizontal line is that of perfect symmetry,
and the next most pleasing is that of the "golden section."
233. In these divisions of straight lines into two equal
*?*-•
^1^
Illustration No. 33
Masses of Equal Size
See Paragraph No. 237
Illustration No. 34
Masses of Unequal Size
See Paragraph No. 237
Landscape and General Vierv Photography. 119
parts, unity is secured; in the divisions according to the
ratio of the "golden section" diversity is secured, but the
unity is not entirely lost. Unity and diversity are essential
elements in all esthetic pleasures. In vertical lines we seem to
prefer the emphasis on the diversity, while in horizontal
lines the exact symmetry, or unity, is most pleasing.
234. In arranging your picture properly on the ground-
glass, as well as in selecting the point of view, it is essential
that you always bear in mind the principle of the steelyard.
It is quite true that there are excellent pictures that do not
possess this principle, but there are, in such pictures, other
qualifications which take the place of the steelyard prin-
ciple.
235. Value of Location of Units Within the Picture
Space. — You must bear in mind that every picture is com-
posed of a collection of units or items, and that every unit
has a given value and the value of that unit depends upon its
attraction (its attraction varying as to its placement —
whether near or far from the center of the picture). A unit
near the edge is more attractive and has more weight than
one at the center. This is important.
236. As just explained, every part of the picture space
has some attraction. If a unit is placed in a dark blank
space its weight of attraction will be greater than if it is
placed among other units ; and, in like manner, a black unit
on white or a white on black has much more attraction than
the same unit on a gray tint. The value of all units depends
upon the size of the unit, as well as upon the size of space
contrasting with the unit. A unit in the distance has much
greater weight than a unit in the foreground. (See Study
No. 13, "Calling the Ferryman," by Mrs. Nancy Cones.)
Where a number of units are situated closely together thej^
may be considered as one unit, the center of attraction be-
ing the point on which they balance other units in the pic-
ture. (See Page 130.)
237. Masses of Light and Shade. — A section of a pic-
ture having one tone, and being sufficiently set apart from
other portions as to attract a certain amount of attention,
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Library of Practical Photography.
either great or little, is termed a mass. Masses of equal
size, occupying similar picture space equal one another, and
therefore, care must be exercised to avoid placing them as
shown in Illustration No. 33. A principal mass only ac-
quires its importance by contrast with a smaller one. See
Illustration No. 34, which shows the same subject with
enough weight added to the left to properly balance the pic-
ture space.
238. Forms of Composition. — There are three general
Illustration No. 35
forms of composition that the beginner should consider. The
first and most important one is known as the triangular
form ; the second is the emblem of grace and movement, and
is known as the "line of curvature;" and all composition
arranged under this particular form has an arrangement of
lines or masses according to what is known as "Hogarth's
Line of Beauty." The third form is the circular or oval form
of arrangement.
239. Triangular Form. — To illustrate the first arrange-
ment (the triangular), we divide the picture space by a
diagonal, as shown in Illustration No. 35. To obtain proper
Landscape and General View Photograph}). 121
balance the main object of importance should be placed in
the lower division near the center of the picture, while in
the lower corner of the upper triangle should be placed an
object of secondary importance. The upper portion of the
upper triangle may be occupied simply by the sky.
This principle is strongly exemplified in Study No. 8,
"Day is Far Spent," by C. F. Clark. If a diagonal is drawn
from the upper right-hand corner to the lower left-hand cor-
ner it will be observed that the lower triangle is practically
filled with the subject of the picture. The lower part of the
upper triangle contains a few trees, but the great majority
of it is occupied by the sky. A picture of this kind is pleas-
ing, and you should aim in every way possible to have your
landscape pictures especially balanced in this manner, for
Illustration No. 36
if you will hold to this one principle until j^ou have thor-
oughly mastered it you will have made an important step
toward successful picture making. (See Page 71.)
240. The perfect triangular form of composition is
rarely seen, for in most cases where the lines of the triangle
are detected at first sight, other lines or points of interest
122 Library of Practical Photography.
appear with such strength as to destroy or modify, at least,
the main construction of the triangular form.
241. Line of Curvature. — One of the easiest forms of
composition for the beginner to handle is the one based upon
the letter S, or upon the more angular form of the letter Z.
Among artists this line is known as "Hogarth's Line of
Beauty." It is shown in Illustration No. 36. A common ex-
ample of this line is to be found in Nature by the form of a
woman's back; if two were joined back to back they would
produce the beautiful curve of a mouth. Horizontally the
line becomes a very serviceable one in landscape. (See Illus-
tration No. 37.)
242. Circular Form of Composition. — The circular or
oval forms of composition lend themselves very naturally to
groups of shrubbery and all still life subjects. Curved lines
of all descriptions are to be found everywhere in Nature,
from the branches of the elm to the winding banks of a
stream. (See Illustration No. 38.)
243. Atmosphere. — The amount of distance or relief
that is expressed in a picture is termed "atmosphere." In
photography we are reproducing round subjects, as well as
objects situated at varying distances from the camera, and
placing them on a flat surface. In order to hold true to
Nature in our reproduction it is necessary to secure as much
roundness or relief, or, properly speaking, "atmosphere"
in the picture as possible. (See Study No. 9, "Bridge," by
J. H. Field. Page 91.)
244. You must first have a perfect understanding of
the balance of a picture before you will be able to proceed
further, and if, by this time, you are not thoroughly familiar
with the principles of the steelyard, go back and read again,
very carefully. Paragraphs 218 to 225.
245. Horizon Line. — In summing iip ivhat zve have now
covered, regarding balance and composition, four important prin-
ciples present themselves. The first one deals with the rela-
tive amount of sky and landscape to be included in the field
of view. Therefore, the FIRST rule is: Never allozv the
horizon to bisect the picture. If the horizon cuts the picture
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Landscape and General View Photography. 125
into two halves the eye at once resents the error of assigning
equal areas to those two primary factors.
246. SECOND : The higJicst point in the landscape should
never coincide tvith the center of the picture's ividth, but should
fall either to one side or the other.
247. THIRD : Such subject or subjects as zve may wish to
include in the foreground, whether they be figures or inanimate
objects, must neither occupy the center, nor approach too closely to
either side, nor to the lower limit of the picture.
248. FOURTH: Should the object or objects be of con-
spicuous si.':e, they should find a background in the more distant
landscape masses, rather than in the sky.
249. In order that we may impress upon and give you
a clearer idea of these rules, let us take as an example a
country road, with a farmer's wagon and team. Should we
place the camera in the center of the road the wagon would
be brought into the forbidden central position, while the
road itself would divide the picture into two equal pro-
portions. A very undesirable symmetry would thus be
created in the main divisions of the picture. To obtain the
proper result you should place the camera to one side of the
road, and upon so doing you will be able to appreciate at
once the value of the diagonal course the road takes, and a
little careful maneuvering will bring the wagon into the de-
sired position.
250. Hence, it is very evident that actual picture-
making by photography demands that you should act de-
liberately. There must be no hasty "snap-shotting," but a
studied system of trial and rejection should be employed.
251. Test Card. — In order to save a certain amount of
time, you will find it most convenient to take a piece of card-
board and cut in it an opening the size of the plate you are
using, and if possible insert in this opening a piece of blue
glass (the effect of this blue glass has been previously ex-
plained ; it reduces the color scheme of the scene to a mono-
chrome value). By employing this card, even though you
do not have the blue colored glass, you will be able to see
and readily recognize the proper placement of the various
III — 7
126 Library) of Practical Photography.
masses to secure the correct effect of composition. The
masses will, however, not present their true weight unless
you remove their color value, for some of the tints will re-
produce in the negative with an entirely different value
from what you thought they possessed when you observed
them in their natural color state.
252. Up to this point we have tried to impress upon
you the importance of careful selection, with the aim of se-
curing a well-composed picture ; and, then, to have you sat-
isfy yourself that the relative tones are such as will insure
vigor, contrast and the subordination of the more unim-
portant parts.
253. Breadths. — By the term "breadths" is meant the
subduing of what may be called "spottiness," or the scatter-
ing of lights and darks. A fine mass of dark trees for in-
stance, unpierced by distracting points of light, will give
greater pictorial value than a similar mass of trees finely
interspersed with light patches of sky. The reverse of this
is also true — a group of figures in light costume should be
arranged and massed so that their combined effect is as of
one large surface, instead of a scattered series of light spots.
CHAPTER VII.
INSTRUCTION IN LANDSCAPE PHOTOGRAPHY.
254. Suggestions for Choice of Subject. — Never allow
strong colors and complicated views to carry you away from
the principles which will produce the most artistic results.
You will find that occasionally a large view, or a view com-
posed of many units, will make a pleasing picture, but if it
does it is due to the fact that it composes well and has its
proportions subordinated according to the previous rules we
have given. The beginner, and even the advanced worker,
should choose only simple landscape pictures. A tree, a
picturesque old building, a stone fence or wall partly broken
down, a portion of a river whose banks are lined with wil-
lows, or an old bridge over a brook, will form excellent sub-
ject material. These are simple subjects and they will prove
excellent ones for any student desiring to advance and
understand the important principles underlying satisfactory
results.
255. Genre Work — Pictures that Tell a Story. — It is a
generally conceded fact that a picture telling a story belongs
to the type or class of work known as Genre. Ever,y picture
should tell a story; if it does not, it fails to accomplish its
purpose. A story set forth depends entirely upon the se-
lection of the subject, and the simpler the subject the more
direct and convincing will be the idea conveyed. A strong
example of photographs of the Genre type is shown in Study
No. 13, "Calling the Ferryman;" Study No. 14, ''Fairy
Tales;" Study No. 15, ''The Edge of the Cliff," and Study
No. 19, ' ' Street Scene — Winter. ' ' In each of these the human
figure plays an important part. It was really essential that
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128 Library of Practical Photography.
these figures be in the picture in order that the idea which
the artist intended to convey be carried out.
256. Individuality in Picture Making.— Select the sub-
jects which please you. Artistic work is individual, and you
should, from the very start, attempt individual expression
in your work. In landscape photography you have a broad
field, and the quiet scenes which are prevalent everywhere
form excellent subject material. A quiet country road
winding out of sight in the distance, a sunset with clouds
slowly darkening into night, or a river with its sheen of
silver lost under the trees, are very expressive, and subjects
of this class offer endless opportunities to the student
possessing any artistic feeling.
257. There is still another class of work along this
line, which includes life, motion and vigor, and many will
be attracted to this particular phase of work more than to
the quiet studies. Our advice is, however, to select those
subjects which interest you especially, and then work to
make them an expression of your individuality through your
art work.
258. After you have satisfied yourself, by the use of
your card frame and blue glass (See Paragraph 251), of the
pictorial value of the scene you wish to reproduce, turn to
the inverted image on your ground-glass screen and make
another examination of the view.
259. Focusing. — Focusing is a very important factor,
and you must remember that sharpness of focus is only per-
missible for objects in the foreground ; the distance will take
care of itself. Any lack of definition in the distance would
add to, rather than detract from, the pictorial effect. There-
fore, a small stop in the lens is fatal to success in landscape
work. "Whatever stopping down is done in landscape pho-
tography must be only sufficient to carry clearness of defini-
tion so far into the picture as will suffice to correctly define
the nearer details. Many good pictures may be taken zvitJi an
unstopped lens.
260. You will now readily understand that the best re-
■■x^m:m^m^.
CALLING THE FERRYMAN
Study No. 13— See Page 308 By Mrs. Nancy F. Cones
^ ASTOP
Instruction in Landscape Photograph}). 131
suits will come to the careful, methodical and deliberate work-
man.
261. Exposure in Landscape Photography. — In ascer-
taining correct exposure for landscape work the size of stop
is of great importance, for the use of the small stop prolongs
the exposure and thus causes a great risk of movement and
entirely ruins landscape subjects by completely destroying
the atmosphere of the distance. For all practical purposes
stop F. 8 will be the most suitable. Should your lens work
at F. 6.8 so much the better. Remember that you do not
want to secure sharp detail, especially in early morning
studies. A broad and soft effect is what you should strive
to obtain. The actual duration of the exposure, of course,
depends to a great extent upon the character of your sub-
ject. An open landscape, upon which falls strong sunlight,
will require not more than 1-25 of a second, while an expo-
sure in the woods, particularly when there is a little mist
present, will require fully i/o second in the early morning.
262. Development. — When developing dilute the solu-
tion liberally and proceed slowly and cautiously. Even
when the greatest of care is exercised the highlights will
often become over-dense by the time the shadows have ac-
quired sufficient detail and density. The only remedy then
is to reduce these highlights afterwards. Ammonium per-
sulphate will be found most suitable for this purpose, as you
require something that will attack the highlights first and
thus bring them into correct relationship with the shadows.
The formula for Universal Developer and the methods of
handling it, fully set forth in Volume II, apply to this class
of negatives.
263. General Hints. — While excellent effects may be
obtained on ordinary plates, orthochromatic plates backed
and used in conjunction with the ray filter will be found
very valuable, although it is unnecessary to employ the
filter when photographing in the early morning or late in
the evening.
264. Films. — Films have a great advantage over the
ordinary plate for landscape photographs, as the halation
132 Library of Practical Photography.
which is bound to appear from bright patches amongst the
foliage is reduced to the minimum. Again, when using
ordinary plates for landscape work, have them backed. The
non-halation plate takes the place of the ordinary plate
backed, but it is a trifle more expensive and the results se-
cured are in no way superior to those obtained on the backed
plate.
265. Exposure. — Exposures given for sunlight pictures
are sufficiently short to admit of the use of hand cameras,
although it is in every case advisable to employ a tripod
when working for pictorial effect. You can obtain the de-
sired results if you arrange the composition carefully on
the ground-glass and spend considerable time examining it
critically for imperfections. It is permissible to doctor a
negative by blocking out certain portions, but it is much
better to avoid all such after-labor by carefully focusing
and composing the picture before making the exposure.
266. Practice Work. — For practice work select some
convenient scene that appeals to you. Before attempting to
photograph it, however, study where you will set the
camera ; in other words, select your view-point. This you
should be able to accomplish with considerable ease, if you
have carefully digested the foregoing lesson work.
267. Make good proof prints from each experiment;
make your notations on the back and file them in your proof
file for future guidance.
CHAPTER VIII.
SUNLIGHT ON LANDSCAPES RENDERING LIGHT AND
SHADE.
268. How to Expose, — Perhaps in your photographic
work you have been led to believe that if you have a bright
sunny day you will be assured of splendid results. On the
other hand, if the day be at all dull you were inclined to
think that extraordinary exposures would be necessary, and
that poor results would invariably follow. As a matter of
fact, the true rendering of sunlight in landscape is one of
considerable difficulty, for it is no easy matter to secure in
bright sunlight proper gradation and absence of harsh con-
trast. The great difficulty lies in the fact that with the cor-
rect exposure for the highlights the shadows will almost
always be under-exposed. On the other hand, if we hold to
the old rule, "expose for the shadows, leaving the highlights
to take care of themselves," the sunlight portions will
come out extremely hard and dense. In work belonging to
this particular class of landscape photography, you will
find the most satisfactory method is to follow a middle
course in the matter of exposure; i. e., expose for neither
shadows nor highlights, but strike a mean between them.
269. Best Time of Day for Sunlight Effects.— The best
time for securing sunlight effects is early in the morning and
late afternoon, for at this time you will secure the softer
rendering of the light and not obtain the full strength of
the piercing rays. In the middle of the day, when the sun
is clear and comes down harshly upon the scenes, your neg-
atives, made under such conditions, will give very unpleas-
ing prints. Be up and into the woods or fields before break-
fast. If you do not at first secure superb pictures, you will
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134 Librar]) of Practical Photograph]).
at least enjoy the freshness and beauty of the morning; and
further, learn to appreciate delicate tones and charms of
softly rendered distance^ in the landscape.
270. Protect the Lens from Direct Sunlight. — Be sure
to guard against the sun shining into the lens. In taking
pictures in the woods, you are particularly liable to have a
good plate spoiled in this way; for you may have such a
keen intent on securing the sunbeams that you will forget
that a fluttering leaf may admit a full ray of sunshine just
at the critical moment of exposure. Take care, therefore,
that the lens is well protected from direct sun rays when the
sun is in front of the camera, as it may be when attempting
to produce odd effects.
271. View-point. — Choose, if possible, a point of view
that includes the least number of scattered highlights. Of
course there will be one pre-eminently suitable spot for the
effect you desire, but before making your exposure, be sure
that you have fixed on that spot and that this is the best
position from which to view the scene to best advantage.
272. In the morning the sunlight glancing through the
trees is reflected by the bright green or moist surfaces of
the leaves. "Where considerable foliage is included, it comes
out as extremely irritating white spots, which seldom fail
to destroy the main effect unless you spend a laborious
amount of time on the negative retouching them out. In
taking pictures of this particular class nine amateurs out of
every ten go wrong. They are deceived by the glittering
foliage and their prints turn out as masses of formless white
and patches of equally formless black. Even exerting the
greatest amount of care and taking every precaution pos-
sible, you will find in many cases the strong highlights will
need some reduction if you wish to emphasize the main
effect. It is right here that your backed or non-halation
plates will render you a great amount of assistance.
273. Roads and Trees. — There is something very fas-
cinating in the vanishing point of a road or where it winds
around behind a clump of trees. It really gives the ob-
server a feeling of the enthusiasm of a pedestrian on a walk-
Sunlight Rendering Light and Shade. 1 35
ing tour; one wants to go on and see what there is beyond
that point.
274. Simplicity, as we have previously mentioned, is
an extremely important factor and one of the chief virtues
of road pictures, for they can be so simple and yet very
pleasing; one tree, a bit of road and fence, and a nice sky
are often quite enough to make a picture. As one of the
most important principles of composition is simplicity, it is
advisable to choose a simple subject and to try to do away
with all unnecessary details, thereby strengthening what re-
mains by concentration of interest. A road by itself seldom
makes a good picture. The result, even if the long focus
lens is used, is very disappointing, for the foreground is
very difficult to manage ; therefore, choose a road with a tree
or two in the right position and your troubles will be at an
end. It is unfortunate that trees are so seldom in a proper
position ; however, one may vary the point of view. Should
the tree on the right appear to be an inch and a half too tall
or too short on the ground-glass, or in the wrong position
to balance the composition (you are not as fortunate as the
painter, who can modify or leave out altogether what he
does not want), you must choose a time of day in which the
lightings will give you the proper effect. Also vary the
point of view until you have secured a satisfactory ar-
rangement. If you cannot, under these conditions, produce
a proper arrangement, the only thing to do is to let the sub-
ject go and find another.
275. Practical Hints. — There are one or two technical
points that might be well to consider at this point, regarding
landscape work. Orthochromatic plates, which are sensi-
tive to green, used with a ray filter are of great value. A
filter that increases the exposure four times is usually suf-
ficient, if it is used intelligently, but one increasing it six or
eight times would be better. Such filters are called four,
six and eight times screens, respectively. It is not good
policy to lengthen the exposure too much, because even on
a comparatively windless day the leaves of trees are never
quite still, and, though a slight amount of movement of the
136 Librar]) of Practical Photography.
leaves tends to improve the picture, too much movement
would spoil it ; therefore, as is often the case in photography,
a compromise must be effected and some of the correction
of color values must be sacrificed for the sake of avoiding an
excessively long exposure.
276. Exposure When Using a Color Screen. — We again
mention the importance of correct exposure, for the tend-
ency is, with the use of the screen, to under-expose. You
will find that a generous exposure on an ordinary plate care-
fully developed will give a far better rendering of values
than an insufficient exposure on an ortho plate through a
screen; therefore, whatever you do, do not under-expose
when emplojdng color corrected materials. Bear in mind
the character of the subject when making the exposure, and
look at your subject with a "photographic eye," remember-
ing that the lens, unlike the human eye, has no accommo-
dating brain behind it and strong contrast in the subject,
unless modified by exposure, will be faithfully rendered by
the lens as contrast.
277. Note. — It is not our intention to give you the im-
pression that it is an absolutely essential matter that you use
orthochromatic plates and screens ; in fact, to begin with, if
you have had no experience whatever with them, our advice
would be to use the plate that you are already familiar with.
However, it is advisable to have the plate backed.
278. For practice work select some spot that will in-
clude a road and one or more trees, and proceed to secure a
couple of negatives along the lines just described. Before
making an exposure, however, be absolutely certain that the
point of view selected will produce the very best rendering
of the subject in hand ; also watch out for the lighting
effect, and if you think another time of day will give you a
better effect, wait until you have the proper lighting. Sini-
plicity in the subject will aid you a great deal in obtaining
the best arrangement of composition.
279. Make good proof prints from each experiment;
make your notations on the back and file them in your proof
file for future guidance.
CHAPTER IX.
Part I.
FIGURES IN LANDSCAPE.
280. As to the advisability of including a figure or
figures in any view, ask yourself the two questions : First,
is the figure necessary to carry out the idea of the scene f Second,
is the figure or the view the most important part of the com-
position ?
281. If figures are to be introduced particular atten-
tion must be paid to the location which you give them, as
the misplaced figure might spoil completely the general com-
position of the picture.
282. Size of Figure.— If figures are to be introduced in
landscapes, they should be large enough to at least be dis-
tinguishable. There are times, however, when a figure may
be in the extreme distance, and by contrasting with the
background form a valuable unit in the composition.
283. Figures Out of Harmony With the Scene. — No
figure or figures should be introduced into a view if there
is any tendency towards their detracting from the principal
object of importance. The main object of having figures in
a landscape is to assist, not only in the composition, but also
in the general interest of the view,
284. Crowding Figures in Foreground. — If the figures
are too near when photographing, and there is not sufiieient
space in the foreground of the resulting picture, too much
attention will be called to the figures, thus detracting from
the balance of the view.
285. Figures Too Large. — Be very careful that your
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138 Library of Practical Photography.
figures are not too large for the landscape and thus also ruin
the landscape proper. Also, when photographing groups
do not have them too closely packed together, or scattered
too much. It is necessary that you use judgment in the
placing of figures in all landscape work, bearing in mind that
you are reproducing landscape scenes and not making por-
traits.
286. The Horizon Line. — When a figure appears in the
landscape the mistake is sometimes made in having the
horizon too low, giving the figure the appearance of extreme
height. This error is especially marked in hand camera
work. The reverse fault, of the horizon being too high,
seldom occurs, but when it does it will give the effect of
looking up hill.
287. Composition of Foreground. — Of all the parts of
a picture the foreground is the most important from the
standpoint of composition. It has always received the
greatest amount of attention from pictorial Avorkers, while
the careless user of the camera often meets with little suc-
cess in properly rendering this important item.
288. First, because its importance has been disre-
garded, and second, because it is the most difficult to arrange
and regulate in a satisfactory manner. It not only calls for
an intimate knowledge of nature, but also an infinite amount
of patience in its execution, both of which are difficult mat-
ters for the beginner.
289. Narrow Angle Lens the Best. — The most common
fault which presents itself in the handling of the foreground
is derived from the use of a lens of too wide an angle, so
that too much of the immediate foreground is included.
The distance is thrown back too far, and when the print is
made it requires a considerable amount of trimming away
of the foreground. Thus, a long narrow picture seems more
artistic, because of its shape; whereas its pleasing effect is
chiefly due to its giving the impression of a narrow angle of
view. The practical solution is the use of a long focus lens
so as to secure the same effect on a larger scale.
290. Proper Focal Length of Lens. — If you are using
THE EDGE OF THE CLIFF
Study No. 15— See Page 311 By Myka A. Wiggins
THE ^
IPIJBLI
Til DFN.
Figures in Landscape. 141
a single lens on a Sy^ x 4^/4 or 4 x 5 plate, it should have a
focal length of not less than 6 inches. If you are using the
rapid rectilinear lens for this same size plate, the focal
length can be 5 or even 4I/2 inches, as this can be increased
to approximately 10 and 9 inches, respectively, by removing
the front combination. Lenses of this type, therefore, com-
bine the greatest advantages of wide and narrow angle.
291. Caution. — You must not forget that employing
the single combination of a lens, thus doubling the focal
length, changes the value of the stop (or diaphragm) and
requires a proportionate increase in the exposure.
292. Focusing. — A second difUculty which is met with in
the composition of the foreground is the inclusion of detail.
With landscape painters this necessarily involves an intimate
knowledge of ground and herbage structure, and a corre-
sponding ability for accurate drawing, but the photographer
is spared this knowledge, for the lens gives him the necessary
accuracy of form. But, though this difficulty is removed,
others equally as great present themselves and take its
place; for if you will focus the foreground the distance is
thrown out of focus, and if you overcome this by stopping
down the lens, you will lose atmosphere and perspective.
One of two things must, therefore, be decided : Is the fore-
ground or the distance of most importance?
293. This you must decide for yourself when you ar-
range the subject upon the ground-glass screen. If the
beauty of the scene depends upon the delicate features in
the foreground, the descending curve and uneven shadows of
the soil, or the beauties of waving flowers and grass, then
the foreground contains the principal point of interest, and
the camera should be placed low and the focusing so accom-
plished that enough detail is given to the objects nearest
the camera, without destroying the alternating and broken
lines of the middle and far distances.
294. On the other hand, if the foreground contains
nothing of interest, and the motive of the picture is in the
distant detail, then place your camera at a higher view-point
and use a lens of narrow angle.
142 Library of Practical Photography.
295. Use of Rising Front. — The wise employment of
the rising front of your camera will often serve to remove a
bare expanse of foregrotmd and save the use of a trimming
knife. Trim your photograph on the ground-glass. One is
often advised to use two L-shaped pieces of cardboard
when trimming prints, placing these upon the photograph
in the manner of a frame, and the effect tried by cutting out
different parts of the picture. (See Illustration No. 24, Vol.
IV.) But the edges of your ground-glass will answer this
same purpose, the only difference being that the picture is
moved within the space, instead of the frame enlarging and
diminishing. If you will use the rising front judiciously
there will be no need of your cutting away various portions
and reducing the size of the original.
296. Space your foreground properly. Include only
those features which are of interest, and which assist in set-
ting forth the main idea to be carried out in the picture.
297. Light and Shade. — The third point in the consider-
ation of the foreground composition is the study of light and
shade. There is nothing more interesting than shadow.
The strange shapes it assumes cannot be imagined until you
study the stretched, flattened and other shapes into which it
falls. No foreground requires trimming if it contains these
forms. They occur mostly when the sun is to one side of
the camera.
298. How To Make the Foreground Interesting. —
Lastly, do not forget that it is possible to make a foreground
interesting, even though it seems at the time to be absolutely
devoid of that quality. If upon viewing a certain land-
scape for the first time you miss the points that would make
it artistic, view it at another time of day, when the lights
and shadows fall differently. Under the various lightings
you might see a great improvement and be able to photo-
graph the scene at its best, — according to your conception,
at least.
299. A long focus lens and the judicious use of the rising
front will tend to improve the appearance of the foreground.
Frequently you will secure better results by breaking up
Figures in Landscape. 143
the foreground v/ith the bough of a tree, carried from some
adjoining spot; or, with large stones collected from the
neighboring ground ; or by the introduction of flowers, or a
suitable figure. Should the foreground contain still water,
the dull and uninteresting surface should be disturbed by
throwing in a stone and making the exposure as the ripples
of water eddy to the bank, producing wavy and varied re-
flections.
Part II.
STREET PHOTOGRAPHY.
300. Camera for Street Photography. — Pictorial re-
sults are often difficult when making photographs of city
streets. Many of the difficulties, however, may be overcome
by the use of a suitable camera.
301. First, the camera should be ready for making the
exposure at any moment, so that a view can be recorded the
instant it is recognized and before it disappears.
302. Second, the camera should attract as little atten-
tion as possible. The box, magazine, film, or pocket type
of camera has a decided advantage over the combination
hand or tripod bellows camera, because the latter is more
elaborate and attracts undue attention.
303. Third, a large view finder is preferable, as upon
it must be arranged all the composition of the picture. In
the constant shifting and changing of the figures in a street,
people readily fall into groups that are naturally pleasing
and conform to the fundamental rules of composition. The
finder should be large enough to permit these picturesque
groups to be readily recognized — given their proper position
upon the plate — so that the exposure may be made at the
right moment. If it is not possible to have a large view
finder and you are using the box type of camera, lines may
be drawn from the two front corners on the top to the center
of the back of the camera. By forming a V along these two
144 Library of Practical Photograph]).
lines, carrying them into the picture space, you will be able
to ascertain the boundaries of the angle of view. All objects
situated within these boundaries will appear on the ground-
glass, or be reproduced on the negative. Many cameras of
the box type have these two lines already drawn on them for
this particular purpose.
304. Exact Moment for Making the Exposure. — The
exact moment for making the exposure is often quite diffi-
cult to determine. If not watched for with extreme care
the result may be spoiled by the sudden intrusion into the
picture of some unlocked for object. The reflex type of cam-
eras are excellent for this class of work. It is absolutely neces-
sary that you remain perfectly cool when releasing the
shutter. You must not fumble at the slide in the plate holder
or at the focusing pinion. Be in readiness for instant ex-
posure ; the best things last but a second and are gone, and
it is the quick and alert photographer who secures them.
305. Take care that the persons included in your view
are not looking towards the camera with their mouths open;
and remember that at almost any moment something is very
likely to come up that will ruin the pictorial qualities of a
street photograph.
306. Strategem. — It is policy, sometimes, to steal
upon your subject unawares, that the figures in the scene
may be taken in natural position, not staring at the camera
or adopting attitudes that will not carrj'- out the idea you
wish to convey. True, this is not an easy thing to accom-
plish, but by the aid of a little strategem you will meet with
success. For instance, you might pretend to be taking a
view in the opposite direction and draw the crowd of un-
desirables back of the camera; then, wheeling around,
quickly expose on the real scene before those in it are aware
of what has happened.
307. Lighting. — Be careful about the lighting. A
strong light on one side and dark shadow on the other is a
common occurrence when the brilliant sunshine strikes the
street at certain times of the day. One part of the thor-
oughfare is flooded with intense light and the other is al-
STREET IN OLD JAPAN
Study No. i6— S(.^e Patje 308 " P.v Wm. II. Phillips
"Thp: man on the box"
Study No. 17 — See Page 310 By Dr. A. R. Benedict
Figures in Landscape. 147
most black in shadow. The finest effects will be secured on
dull days, on foggy days, and on wet days; although, the
strong sunshine is what tempts the average photographer
out of doors. On wet days the streets are most picturesque,
for that which is unsightly to the eye in sunlight is then
hidden in shade and fog. Carriages present a very effective
appearance as they loom large and mysterious out of the
mist. (See Study No. 17, "The Man on the Box," by Dr.
A. R. Benedict.)
308. Remember that these things are not taken by the pho-
tographer zvho ventures out but seldom with his camera. They
are the reward of the person who is constantly on the zvatch, who
has had many failures,, and who has learned that the best things
in photography are not the outcome of luck, snapshots-, nor the
result of accidental association of events, but the returns of pains-
taking labor and hard experience.
309. Practice Work. — For practice work take a land-
scape scene and properly introduce into it a subject of some
kind and make a negative.
310. For another subject select some general landscape
view that is extremely simple, and make an exposure. Then
take this same subject and introduce something of interest
in the foreground and secure the very best rendering pos-
sible, carrying out the instruction which has preceded, re-
garding the "composition of foreground." The subject for
"Street Photography" will depend upon existing circum-
stances; but you should try to carry out the preceding
instruction in obtaining subject material. Even though the
first attempt is not satisfactory be guided by the results.
311. Make good proof prints from each experiment;
make your notations on the back, and file them in your
proof file for future guidance.
HI— 8
CHAPTER X.
FORMS OF COMPOSITION.
312. One of the clearest and most concise articles on
the subject of pictorial composition for beginners was given
by Mr. J. W. Ridpath, before the Photographic Section of
the Franklin Institute. As the paper contains much of value
and concisely summarizes what has preceded in this volume,
we reproduce it here for your benefit.
313. "Pictorial Photography is a Very Broad Subject.
—It deals with selection of subject, grouping, composition,
light and shadow, focusing, making of negatives and after-
treatment of the same, printing and mounting, each being a
separate step toward the finished picture. For the present
purpose it is intended to speak briefly upon only one branch
of the subject.
314. "Pictorial Composition is based upon certain well-
established and generally accepted rules, or general prin-
ciples, which, although somewhat elastic, are found to be
generally observed by artists everywhere. Some say art is
subject to no set rules, for its variations are infinite; yet
nearly all agree that it has certain general principles. In
fact, almost all pleasing pictures, whether paintings, draw-
ings, etchings, photographs, or those made by any other
process, are found to be based upon some of these rules.
315. "In a short article like this, it is only possible to
refer briefly to a few of the more important or fundamental
rules of composition, omitting such subjects as lighting, at-
mosphere, balance, etc. A careful observance of the follow-
ing nine rules will greatly aid the young photographer in
making more pleasing, and consequently better, pictures.
316. (1) "In Selecting a Subject to photograph there
149
150 Library of Practical Photography.
is always a principal object — that which you want a picture
of. It should, if possible, be placed to one side of the center
and below or above the iniddle line. In other words, place
the principal object in one of the natural quarters of the
picture space.
317. "The Principal Object should, if possible, be sup-
plemented by one of lesser importance as a secondary ob-
ject. If the view contains trees, a position may be selected
where a handsome or picturesque tree will occupy a point
near the camera, in or near the foreground, as the principal
object. This might be supplemented by a small tree, of
somewhat similar shape, in the middle distance. A group
of men or women might be supplemented by a group of chil-
dren placed at a little distance. A church or other impor-
tant building, in perspective, might be supplemented by a
smaller building in another part of the picture.
318. (2) "Objects Should be Few in Number and
Simple in Character. — A group of two or three trees look
much better than a picture showing an extensive and elab-
orate collection of shrubbery. The latter may look beauti-
ful to the eye, but the former will yield a more pleasing
picture. One shock of corn, well to the front, with a few
others less distinctly shown in the distance, is much better
than a number of shocks, equally spaced, at nearly the same
distance from the camera. Two or three figures may be
satisfactorily grouped, but to make a picturesque group of a
dozen will require artistic skill of a high order.
319. (3) "In Order That Your Picture may Look
Natural, the Surroundings Should Always be in Keeping
with the Principal Object. — To illustrate: A lumberman's
or hunter's camp may look well in the forest. A fisherman's
boat and nets should be beside water. A wagon loaded with
logs might appropriately be coming out of the woods. A
farm team should be engaged at some regular farm work,
with appropriate surroundings, such as ploughing, hauling
grain, raking hay, or any other useful farming operation.
A quaint stone arch, or rustic bridge, may impress you fa-
vorably; if so, you will find that a willow tree, group of
Forms of Composition. 151
shrubbery, or even a bunch of tall weeds, if near the camera,
will add greatly to the picturesque effect.
320. (4) "The Principal Forms of Composition are
Three in Number. The Angular Form may be illustrated by
drawing an imaginary line diagonally from an upper to a
lower opposite corner, thus dividing the picture space into
two triangles. The principal object may be advantageously
placed in the lower triangle; the secondary object may be
placed in the lower half of the upper triangle as middle dis-
tance, while the upper half of the upper triangle is occupied
by the sky or other background. Sometimes a very hand-
some angular grouping is effected by placing the principal
object in the upper triangle of the picture space with the
secondary object in the lower triangle.
321. (5) "The P3n:amidal Form of Grouping is partic-
ularly good for strong objects; being shaped like a moun-
tain it gives an idea of stability. The tall tree, church tower,
a house in perspective, or tallest man in a group, occupying
a somewhat central and commanding position a little to the
right or left of the center of the picture space, might form
the basis of a good, strong composition.
322. (6) "The Circular or Oval Forms are light and
graceful, and lend themselves naturally to groups of shrub-
bery or flowers, and still-life objects; curved or radiating
forms are quite plentiful in nature. The dependent branches
of the elm and willow, the oval form of the violin, many
articles of glass and porcelain, the spray from a fountain, a
vase filled with flowers, the oval form of the human face, and
indeed the long oval of the human frame, are illustrations of
this graceful form of composition.
323. "You do not always find objects that compose
readily ; perhaps the fault is in the objects themselves ; per-
haps it is the wrong time of day, or time of year, conditions
are not always alike. Change your position slightly and
look again. IF THE IMAGE ON THE GROUND-GLASS
IS NOT PLEASING, WHY EXPOSE A PLATE?
324. (7) "It is important that the principal lines of
the picture be so placed as to enhance its beauty ; otherwise
152 Library of Practical Photograph}).
they may detract from it. Generally the horizon or sky-line
in out-door pictures should be placed about one-third dis-
tance from the top or the bottom, not half-way up. In many
cases the sky-line is quite important. A gently undulating fore-
ground with hazy distance is suitable for peaceful farm
scenes. Rugged mountain scenery might appropriately have
a saw-tooth or jagged sky-line.
325. (8) "All Important Lines, Such as Fences,
Road, Streams, Etc., Should Lead into, not out of, a Picture.
— They should be so placed as to lead the eye unconsciously
toward some point of general interest. For the above reason
a cross-road picture is seldom pleasing. If the important
lines conform to 'Hogarth's line of beauty,' a graceful
double curve, they will greatly enhance the beauty of your
picture.
326. (9) "Figures, if included in a landscape or other
view, should always be appropriate in character and in
keeping with the surroundings. A farmer at work in the
fields, dressed in his working clothes, is more picturesque
than the same man in his best 'bib and tucker' entertaining
company on the front porch. A hod-carrier would look
better with a pipe in his mouth than smoking a cigarette.
Two girls in sunbonnets, picking blackberries, might add
life to the scene ; but two 3'oung ladies dressed in silk and
lace, wearing ostrich plumes on their hats, would be out of
place among blackberry briars. Perhaps there is no more
certain way to spoil an otherwise good picture, than to pose
your cousin or best girl in the picture center, with nothing to
do but stare at the camera. If you must place her in the
range of the lens, give her some appropriate employment,
such as picking daisies, golden rod, or other wild flowers,
but if you value her friendship, don't have her looking at
the camera. To do so will probably spoil the composition
and the portrait is almost sure to be disappointing.
327. "Some persons might object that these rules, or
general principles, are not practical; that many views can-
not be artistically grouped. It is certainly true that many
views are quite commonplace, having nothing picturesque
Forms of Composition. 153
in them. In an afternoon's outing the camerist may pass a
hundred views, many of which have some attractiveness,
but only one or two appeal to him. While you cannot move
the wayside cottage or trees, you can move the camera.
Select the most important object and give it a strong place
in the picture space, a little out of the center. Select a few
objects, not too many, as accessories ; most views contain too
much. Try to find a suitable foreground. Move a little
nearer or farther away; to the right or left; raise or lower
your camera. While the principal object should occupy a
strong place, the view should be considered as a whole, unity
or oneness being all important. If you spend a little time
intelligently studying the scene, the chances are that you
will secure a much better picture than you could by a 'hit
or miss' method. REMEMBER THAT ONE GOOD PIC-
TURE IS WORTH MORE THAN TEN POOR ONES."
CPIAPTER XI.
GENERAL TALK ON COMPOSITION AND ART.
328. Composition is the creating of a subtle arrange-
ment of lines or forms in photography which shall present
a beautiful whole. The object of all composition in photog-
raphy is to give pleasure through the picture. The com-
posed picture is to the eye what music is to the ear. It may
be harmony or discord according as the arrangement is
good or bad. The most important factors in composition
are design and pictorial value, the difference between them
being that the first may disregard scientific truth, while the
latter conforms to it.
329. The value of design in composition is that it
brings abstract ideas into concrete form. Its forms are
idealized. In landscape pictures we must consider the ele-
ment of truth, and we are limited only by the necessity of
following nature. For instance, in design, one may have
no shadows at all and relative sizes of anything one pleases.
In picture making, while we may transform trees into bushes,
leave out fences, put in houses, color values, etc., we must
preserve the appearance of truth, at least in the local color
and the perspective of the picture. We need not tell the
whole truth, that is, reproduce every individual leaf upon the
tree, but we must give a truthful impression of the tree as a
whole. We should not show any contradiction to scientific
truth. Mere fidelity to nature in picture making is only
giving a record of fact, pure and simple. It does not give the
picture artistic value, any more than being alive and human
makes us all beautiful. Truth to nature may exist with
complete absence of beauty, yet beauty is necessarj^ to give
pleasure, and since the object of all art is to please, all pic-
156
156 Library^ of Practical Photography.
tures must be beautiful, either in themselves intrinsically,
or in their expression.
330. Beauty, then, being the vital spirit and the essence
of all good art, it is natural to ask, first, what is beauty?
The poet Shelley says, "Beauty is truth and truth is beaut}^
and that is all there is to it." But after all is said, this
definition of beauty is narrow and limited to one point of
view. It must also include the creative imagination. The
artist must first think of his subject in a certain effect or
design. In photography he must think of his subject in
light and shade, beauty of line, atmosphere and perspective.
Having created the effect in his own mind he then makes the
picture. In this way the creative imagination comes into
photography with design, and when they both come into any
art, that art becomes a fine art. It is not the beauty of the
subject, but the beauty of the form which the imagination
of the artist gives to the subject, that makes the photograph
artistic.
331. If the photographer has had art training, com-
position will help him to create something in a design, and
this design must be beautiful in itself, apart from what it
suggests or signifies. Unless the photographer is something
more than a mere recorder of facts, he does not portray
beauty, nor does he give pleasure. To be artistic the pho-
tograph must be pictorial, must follow the accepted rules of
composition, light and shade, and must express beauty in
an unmistakable manner. It must show temperament, and
a personal intent on the part of the photographer to express
beauty to be called art. All these principles may be
learned from the works of the great masters. They are
primarily and briefly summed up in this one word, "com-
position." With these preliminaries, laid down as essential
to right picture making, it is easj'- to see that the quickest
way to arrive at art in picture making is by process of elimi-
nation,
332. You should take out the things in a picture that
are not artistic, and secure the features that are artistic from
among what remains. You can, for instance, eliminate the
General Talk on Composition and Art. 157
scientific, the commercial and even the pictorial aspect of
the picture.
333. The photographer may be artistic, first, in his
choice of subject; second, in his arrangement; third, in his
handling and technique.
334. In every picture there is a central point of inter-
est in the choice of subject, which holds the greatest amount
of attention. This represents the subject value of the pic-
ture. It is essential that this should, of course, be pleasing
and beautiful.
335. If the photographer is artistic he will demonstrate
this fact in his arrangement of the subject chosen. Arrange-
ment, or composition, is probably the principal thing for the
photographer to consider. In landscape studies, for instance,
he can divide this arrangement under two heads, — first, in
the selection of a subject, and second, in the arrangement
of the details.
336. This choice of a subject is largely a personal mat-
ter. The arrangement of the details calls for more attention.
It can be better understood perhaps with a knowledge of
how the system of arrangement has been historically evolved.
The first arrangement in picture making was made by the
Egyptians, thousands of years ago. The Assyrians also had
good ideas of drawing, though they knew little of arrange-
ment. There was first, a series of upright lines opposed to
horizontal ones. Then, somebody succeeded in evolving
curved lines, and the Greeks improved upon this form some
hundreds of years later. That is, they broke the line off.
The Romans went still further and made spiral lines, all of
which represented progress and improvement over the orig-
inal straight line, and so composition in picture making
progressed by degrees in this way.
337. The composition of the Egyptians was made up of
straight figures, and, therefore, was represented by a num-
ber of straight lines. The Greeks filled up their forms by
posing the straight lines in opposition to each other, at very
nearly right angles, but it was all straight lines and there
were no flowing curves in it.
158 Library of Practical Photography.
338. The Romans, however, carried composition still
further and began to use another form of curved lines, vs'hich
ran together and made aT sort of hollow form. From that
time to the days of the early Renaissance, it is not difficult
to follow the development of the art of picture making.
339. Following on this question of lines comes the
question of the manner in which the subject should be pre-
sented. Every picture should have a story telling quality.
Story telling pictures have long been decried by modern art
critics, but the times are changing.
340. In a recent interview in Paris, Sir Caspar Purdon
Clarke, of the Metropolitan Museum of Fine Arts, of New
York City, was reported to have expressed the following
sentiment: "They talk about tone pictures, which are all
technique and nothing else. But what's the use of a picture
if it does not tell a story or convey an impression? The
painted picture, in order to show off technique, is on a par
with making a chair which cannot be sat in. Neither serves
a purpose, except it be to express the soul of the artist or
cabinet-maker." There is much of truth in this sentiment,
and the time has come for artists to get back to nature and
common sense and tell us stories in their pictures that will
yield present enjoyment.
341. American artists have been perfecting themselves
in the rudiments of art. Americans, especially, are showing,
not only here but in foreign schools, an inclination in this
direction. They have vigor and character, while much
foreign art, especially in France, is barren of originality.
342. Whistler was probably the first to declare him-
self against story telling pictures, but today the trend of art
in picture making is decidedly in the opposite direction.
Artists in the past, by their attitude in their works, have
too often aided the notion that art is exclusive and not for
the poor or the lowly.
343. Ruskin defines composition as "the help of every-
thing in the picture by everything else." The effect of the
whole in any picture will not be pleasing unless the elements
that make up the picture are well composed. For this reason.
General Tal}( on Composition and Art. 159
the object selected, besides being beautiful in form, should
be pleasing in association. If the picture is a group some
thought must be given to the arrangement of the individual
items. If arranged one way the group may be very pleas-
ing, if arranged the other it may not be so pleasing. So, in
studying the arrangement of any group, consider first the
place of the principal object; second, the place of the sub-
ordinate objects ; third, the figure made by the group ; fourth,
variety; fifth, repose; and sixth, unity of the group space
relations between the objects. Both variety and repose
contribute to the unity, but where unity is lacking, repose is
always lacking too.
344. Placing one object farther back than another sug-
gests distance in a picture, which is always pleasing, as it
brings with it the idea of freedom and atmosphere. If one of
the objects is placed so that its leading lines tend from you,
it will also aid in producing the effect of distance. In fine,
consider the general space relations with a view to enclosing
the group in the picture so that it will hold well together.
345. Placing the objects in a picture is always a prob-
lem. Never place the principal object centrally in the pic-
ture. Do not place the other objects in a straight line with
the principal object. The rendering of a group of objects,
that is, the quality and variety of the lines used, should be
such as to suggest the leading idea of the group. The addi-
tion of a background will often give a foreground, middle
distance and background, which adds very materially to the
construction of the picture and lends it importance. In addi-
tion to all this, there is also the question of light and shade,
which includes the study of light and shade effects. These
may be expressed by lines, varying according to the degree
of shade and shadow in the picture. Examine the picture :
The part toward light is of a different tone from the part
away from the light. Thus, we have light on the part to-
wards the light, shade on the part away from the light, and
the shadow cast by the object. Three distinct conditions of
light.
346. By half closing the eyes and looking carefully at
160 Library of Practical Photography.
the shadow on the subject, you will see what artists call the
breadth of light and the breadth of shade in the picture —
that is, the light side as a whole and the dark side as a whole.
The shades and shadows will be different for each person
viewing it, and each one must study this for himself. Note
the relative tones of the lights and shades and the shadows
cast; what is lightest, what is darkest, and what is the
middle tone between these two extremes?
347. In taking up this question of the use of light and
shade in picture making, it is interesting to note how the
old masters have handled this subject. It is said that Rem-
brandt in his scheme of composition took a lens and cast the
light through the lens upon the wall obliquely, so that the
greatest light came out on the left hand of his picture and
the greatest gray came on the right. Now, this will be the
focus of the light, and the tail of the focus will come on the
other side in the gray shadow. If you will turn this position
up side down, you will see that it suggests the form of Rem-
brandt's best composition, viz., opposing the greatest light to
the greatest dark, graduating towards the edges. It was his
custom to pose a dark, swarthy head, or face, against a white
cap and underneath. Then the highlight of the face grad-
uated it as it came down, until it got off the line.
348. Another form that he used was to break the pic-
ture diagonally so that it made all one side dark, letting
in light in some places, dark in others. These Holland
painters posed the very darkest figures to the light in the
center of their composition, and then graduated this shadow
toward the edge. Thus they concentrated the interest by
making the dark edge and the light edge meet. The eye
is directed only to this point. They claimed that you look
into the center of a picture at once. They said when you
opened your eye that it naturally sought the floor line
or the ceiling and then swung up onto the wall where the
picture hung. If that be true, then the eye travels in a curve,
or path, made for it by the photographer.
349. The eye naturally seeks the principal point of
interest, and if there are a number of interesting spots dis-
General TaU( on Composition and Art. 161
tributed through the picture, it goes naturally into the pic-
ture, touching first the least important, then the more im-
portant, then the most important points. Arriving at the
center, if the picture is well composed, your eye will con-
tinue to move in a circle unless deflected by the composition.
The clever artist will make his picture in such a way that the
eye will not get off the picture. A spot here and a spot there
will hold the interest.
350. It has been truly said that the artist feels for the
surface of his object and unconsciously adapts the lines of
his pictiire to express this feeling. And feeling counts for
more than physical seeing in all landscape work. All good
rendering of landscape requires elimination on the part of
the worker. Skill and genius is shown in selecting only
those things that help along the impression of the chief ob-
ject of interest. All artistic rendering of nature is a trans-
lation, not an imitation. An imitation of nature is always
imperfect and unsatisfactory. A landscape photograph may
be absolutely correct so far as the appearance of the object
or scene is concerned, yet be wholly without what is known
as artistic expression. In seeking for realistic details in
landscape work the spirit of the scene is often sacrificed.
Selection is here again largely a matter of individual feel-
ing. Thus there is an opportunity for self-expression in this
kind of work' that should be improved.
351. Besides unity, one of the most important qualities
in pictorial composition is the effect of repose, produced by
the proper arrangement of the objects in the picture. This
effect will be increased if the transitions from light to dark
are gradual and not violent. The simj)le harmonies are the
most attractive. All kinds of lines should not appear in the
same picture. If we can make ourselves understood with two
or three principal lines or combinations of them, the result is
better than trying to put a number of them all in one picture.
Study the proper distribution of lines as well as of light and
dark. Pictures are fine only as they conform to the prin-
ciples of beauty. These great principles cannot be ignored.
They may be combined in newer ways, but to ignore them al-
162 Librar]) of Practical Photography.
together is to leave out beauty, and beauty is the essence of
every good picture.
352. To sum up th^ story of composition in picture
making, consider first the principal object and generally
place it centrally in the picture, but not exactly in the center.
Secondly, do not place objects in a straight line with this
principal object. Thirdly, try the effect of placing objects so
that if the centers of their bases were connected an irregular
line would be made. Fourthly, place them as if they belong
together. Fifthly, place them in such a way that they will
appear at rest. Sixthly, remember that objects should not
have the same positions ; that is, their axes should not be all
upright or horizontal; they should not be parallel, or at
right angles to each other. Seventhly, one of the objects
should be partially hidden behind another, even if there are
no more than two objects in the group. Finally, note if in
the group you have made the objects appear of the same
height. If so, change them, as the effect will not be pleasing.
Observe unity, repose and variety, as they are all essentials
to good pictorial composition. In fine, consider the general
space relations as a test for the whole picture.
353. Contrast of form, proportion, etc., are intensified
when contrast of value is added, and by introducing values
we may either support or neutralize the line composition.
354. From the foregoing it is evident that composition
includes not only selection, arrangement, proportion and
space relations, but may also be studied in the works of the
great artists. It can be produced only by the individual, as
it of necessity implies original work. A true picture not
only shows how an object or a group of objects appear, but
also tells how the object looked to the person who made the
picture. It tells not only what was seen, but also what he
thoiight about the object. Whoever makes a picture tries
to indicate in the photograph the part he cares for most. He
also tries to show his ideas of beautiful composition. This
human element added to the presentation of the subject is
what makes the real picture. In all this, space relation and
line direction unquestionably play important parts, and it
General Tall^ on Composition and Art. 163
must be remembered, in the end, that composition appeals
directly to the creative faculty in the artist.
355. Composition stands for individuality in art. It
is a method of expression, not simply an impulse. The artist
is one who has mastered the laws of his art and he cannot
progress, we repeat, without regard for those laws of com-
position that have been discovered and formulated by the
master artists. These underlying principles are as funda-
mental in art as the laws of nature in the world about us.
Just as the operation of certain laws keeps the natural
world in beautiful order, so, certain recognized principles
in the art world underlie all artistic work. While this work
may be original and individualized as a whole, it should
proceed according to method and in an orderly fashion.
The lines in the landscape should contrast agreeably and the
spaces bear pleasing relations. This harmonious proportion
of the parts to each other and to the whole is secured by the
observance of three simple laws, viz., principality, simplicity
and repose to any picture. The law of principality means
that one part of the picture should be more important than
the other, hence contrast of dimension and value ensues.
Opposition requires that there should be variation or con-
trast in direction of line and shape, while balance calls for
a harmonizing of these contrasts so that the effect of the
whole will be pleasing. In this way, one can develop judg-
ment in arranging forms and ideas, and cultivate a power of
idealizing familiar things in their relation to each other.
356. John LaParge says: "I have far within me a be-
lief that art is the love of certain balanced proportions and
relations which the mind likes to discover and to bring out
in what it deals with ; be it thought, the actions of men,
the influence of nature or the material thing in which neces-
sity makes it work. I should then expand this idea until it
stretched from the patterns of earliest pottery to the har-
mony of the lines of Homer. Then I should say that in our
plastic arts the relations of lines and spaces are, in my belief,
the first and earliest desires. And again I should have to
say that, in my unexpressed faith, these needs are as needs
III — 9
164 Library of Practical Photograph'^.
of the soul, and echoes of the laws of the universe, seen and
unseen, reflections of the universal mathematics, cadences
of the ancient music of the spheres.
357. "For I am forced to believe that there are laws
for our e^'es as well as for our ears, and that when, if ever,
these shall have been deciphered, as has been the good for-
tune with music ; then shall we find that all the best artists
have carefully preserved their instinctive obedience to these,
and have all cared together for this before all.
358. "For the arrangements of line and balances of
spaces W'hich meet these underlining needs are indeed the
points through which we recognize the answer to our nat-
ural love and sensitiveness for order, and through this
answer we feel, clearly or obscurely, the difference between
what we call great men and what we call the average, what-
ever the personal charm may be.
359. "This is why we remember so easily the arrange-
ment and composition of such a one whom we call a master —
that is why the 'silhouette* of a IMillet against the sky, why
his placing of outlines within the rectangle of his picture,
makes a different, a final and decisive result, impressed
strongly upon the memory which classifies it, when you com-
pare it with the record of the same story, say, by Jules
Breton, It is not the difference of the fact in nature; it is
not that the latter artist is not in love with his subject; that
he has not a poetic nature ; that he is not simple ; that he has
not dignity; that he is not exquisite; it is that he has not
found in the nature of his own instinct the eternal math-
ematics which accompany facts of sight. For indeed, to use
other words, in what does one differ from the other? The
arrangement of the idea or subject may be the same, the
costume, the landscape, the time of day, nay, the very person
represented. But the Millet, if we take this instance, is
framed within a larger line, its spaces are of greater or more
subtle ponderation, its building together more architectural.
That is to say, all its spaces are more surely related to one
another, not only to the story told nor to the accidental oc-
General Talk o" Composition and Art. 165
currence of it. The eternal has been brought in to sustain
the transient.
360. "Yes, the mere direction or distance of a line by
the variation of some fraction of an inch establishes this
enormous superiority — a little more or less curve, a mere
black or white or colored space of a certain proportion, a
few darks or reds or blues. And now you ask, 'Do you intend
to state that decoration — ?' To which I should say, 'I do not
mean to leave my main path of principles today, and when I
return we shall have time to discuss objections. Besides, I
am not arguing; I am telling you.' "
CHAPTER XII.
DIFFICULTIES— LANDSCAPE PHOTOGRAPHY AND
COMPOSITION.
361. Unsatisfactory Results in General. — In the first place, un-
satisfactory results are often caused from not taking time enough
to compose the picture properly. Do not hurry the exposure, for,
if you aim to produce artistic effects in landscape work you must
allow of sufficient time to study the various masses that go to make
up the picture space. The point of view is an important factor, but
it should receive less consideration than the subject itself. Before
attempting to set up your camera ask yourself this question: ''WHAT
IS THEEE IN THIS PAETICULAR VIEW THAT APPEALS TO
ME, AND IS THIS SUBJECT WORTH TAKING?" With this ques-
tion answered to your satisfaction, you are ready to either go ahead
and set up the camera or to choose another subject.
362. If this view is a desirable one you should proceed to select
the point of view from which you are to work. Continual study of
this view must be made, and if for any reason it does not meet with
your approval, by no means waste a plate on it. Another point is,
that the lighting has a great deal to do with composition, and if the
sun does not shine from the proper direction — casts shadows which,
in your mind, could be improved by some other lighting — wait and
see if a different time of day produces better results.
363. Snap-shots of landscape subjects are not advisable. Where
you wish to secure the very best artistic work use a tripod that is
strong, rigid and adjustable to various heights.
364. It is not absolutely necessary to have a shutter for land-
scape work, as you can use the lens cap in making the exposure. A
shutter is, however, a convenient accessory. There might be times
when you have a subject that, owing to its rapid motion, would re-
quire a quicker exposure than you could produce by a cap exposure.
365. Flatness in Landscapes. — Flatness is lack of atmospheric
effect in the picture. The first cause of this defect is over-exposure;
the second, employing too small a stop in the lens, thus securing too
much detail, and definition in distant objects. Use the lens as wide
open as possible for all landscape work, having only the main ob-
jects of attraction perfectly sharp. In case your lens does not cut
167
168 Library of Practical Photograph]).
the plate sharp to the edges, use a small stop so that the entire plate
may be covered to best advantage.
366. Careful focusing ,is one of the most important points for
the landscape photographer to consider. As a general rule, the fore-
ground is the chief point of interest, and this should receive the
greatest amount of attention.
367. Flatness is also due to the bluish tinge that often
exists in the air, which, after you have exposed your foreground
sufficiently, will be very much over-exposed. To remedy this, use a
color screen in conjunction with orthochromatic plate, the color
screen cutting out to a great extent the blue rays of light, allowing
all parts of the scene included in the angle of view to receive the
proper amount of exposure.
368. Misleading Effects Produced by Color. — In many highly
lighted landscapes the beginner will be misled by the brilliancy. In
such a case, the photographic plate will not reproduce the effects as
they are seen by the naked eye. It is advisable to reduce the scene
to monochrome (one color). (See Chapter VI., Paragraph 209.) A
piece of blue glass can be employed as previously directed, but if
you wish to focus upon the ground-glass of your camera, a blue glass
lens cap will be found very useful- If a picture is focused with a blue
glass on the lens, a much better idea of the monochromatic result
is ascertained and you can arrange the general mass and the balance
and composition much more easily than if you were to be confused
by the appearance of color.
369. Difficulty in Photographing Woodland Scenes. — One of the
greatest difficulties in photographing in the woods is caused by the
spreading of light which sifts through the branches of the trees in
such a way as to cause halation. This will, of course, appear only
where the trees rise above the horizon line, and the branches extend
sufficiently high to allow the sky to form a background and the
strong light to penetrate through the branches. To avoid this, non-
halation plates should be used; or you can back the plates and obtain
the same results. The method of backing the plates has been thor-
oughly described in Chapter V. You will also experience difficulty
if you attempt to photograph dense woodland scenes in the middle
of the day, when the rays of light fall perpendicularly upon the trees.
A late afternoon sun is the best for photographing in the wooda,
especially when the trunks of the ttrees and the under branches re-
quire lighting. An hour's difference in the position of the sun may
make the difference between a photographic record and a picture.
370. Exaggerated Breadth in Foreground. — The lens is a highly
important item of the photographic outfit. This does not necessarily
moan that it should be an expensive one, but one of considerable
focal length, to give a proper rendering of the scene and not too
Difficulties — Landscape Photography. 169
broad an angle of view to the foreground. A single achromatic lens
will probably serve as good a purpose as an expensive anastigmat
for this work. A useful focal length of the lens for pictorial land-
scape photography is from one and one-half times to twice the
length of the base line of the picture. A narrow angle, or in other
words, a long focus lens, renders more agreeable proportions, and,
as we have said before, is to be preferred for landscape work.
371. Unimportant Objects Attract too Much Attention. — When
using the large aperture of the lens for pictorial work, the object of
chief interest should be in sharpest focus, and the other objects
placed in subordinate degrees of definition according to their pictorial
importance. If there are objectionable features within the picture
space which can be easily moved, remove them before making the
exposure. In fact, it is essential that you do all within your power
to have only objects in the picture which add to the general interest
and assist in carying out the idea which you wish to convey. Al-
ways have the strongest light on those items which are of greatest
importance. If it is impossible to remove the unimportant features
which attract too much attention, you should wait until a time of
day when these particular objects are in shadow. Under no cir-
cumstance should an exposure be made when the strongest light falls
on objectionable parts of the view.
372. Unsuccessful Work on Windy Days. — A great source of
trouble to the landscape worker comes from the movement of trees
caused by the wind, when you desire, perhaps, to use a color screen
and orthochromatic plates. To obtain exposures under these condi-
tions you should make a series of short exposures during periods of
quietness. A prolonged double exposure with a screen can thus be
given if necessary. Should the wind be so strong as to cause a
vibration or movement of the camera during the exposure, you will
be able to overcome this movement by tying a large stone to a string
and hanging it to the tripod head.
373. Pictures Appear Common and Uninteresting. — This subject
we have covered, to a certain extent, in the previous difficulties. Its
cause is due to hasty work and inattention of the photographer in
selecting and arranging the subject material. If the advice given in
the preceding chapters has been followed, and you have selected
simple subjects, arranged according to the fundamental principles of
composition, your results will not be common, but will present pic-
torial sentiment. Much attention should he paid hy the landscape pho-
tographer to the lighting of masses; detail should receive only secondary
consideration. Light and shadow in landscape work are the cable and
anchor of the pictorial photographer. Boldness of masses and breadth
of effect are points that you must observe.
1 70 Library of Practical Photography.
374. The carrying out of a sentiment or idea can usually be
aided by appropriateness of the sky.
375. Among the things- to avoid is the introduction of any-
thing petty or commonplace, as well as the allowing of any spotty
effect of lighting, often seen when the sun shines on or through
leaves; for, in this latter case, the usual effect is that of snow instead
of sun. Do not try to portray the majestic and the {/rand in landscape,
but hold to the more simple subjects irhich iriU, with the beginner at
least, (jirc the best picture. The position of the sun may make all the
difference in the composition of a landscape picture. An uninterest-
ing view in the morning may become a perfect arrangement of lights
and shadows under the effects produced by the afternoon sun.
376. Cannot Secure Proper Arrangement. — By simply reading
over what has gone before, you will not be able to produce the highest
class of artistic results. To produce artistic work means study and
practice. Apply each and every principle given. We have tried to
eliminate all technicalities and give instruction — every step of which
is necessary to the obtaining of artistic results. Improper arrange-
ment of masses and subjects in the picture space will be sure to
follow if you do not carry out the fundamental principles herein laid
down.
377. Eemember, that of all the places in the PICTUEE, the center
should not contain the main object. Referring to Illustration 30, you
will see where the strongest points for location are. Do not infer
from this that the principal object should not be located near the
center, for in many cases it is so situated. To secure the best effect,
the most important items or masses in your picture should appear on
the left side, the right side being left a blank, if you have nothing
with which to fill it. But, if the right hand side is left perfectly
blank it is necessary that your main object of interest be placed
quite near the center, while if your right hand space contains some
small object of attraction the main object to the left should be
further removed from the center.
378. Spotted Effect When Trees Appear in Landscape. — This
difficulty will be most apparent when photographing woodland scenes
with the sun too high in the sky, causing the rays of light to fall
perpendicularly upon the trees. The rays of light, coming through
the branches, cause strong highlights and deep shadows. Under these
conditions it will be necessary for you to choose another time of day
— either early morning or late afternoon, when the rays of light are
obstructed from entering the woods. It will then, of course, be
necessary to give an exposure of considerably greater length than
was required at noon-day.
379. When the landscape view contains a few trees, or even
one tree, the same spotted effect is often obtained, especially if the
Difficulties — Landscape Photography. 171
tree — or trees — is in the foreground of the picture. The same method
of procedure applies here as in the case of photographing in thick
woods. The more horizontal the rays from the sun, the less will
be the spotted effect.
380. Rain or heavy dew on the leaves of trees will sometimes
catch and reflect rays of light, and thus result in giving a spotted
picture. To avoid this, do not make the exposure under such con-
ditions.
381. Eoad Scenes Uninteresting. — Photographs of country roads
will appear uninteresting if you have not given careful study to the
subject you i"htend to photograph. You must select the proper view-
point, as well as be careful in the choice of material that is to be
included in the picture. As was said in Paragraph 274 of Chapter
VIII, "Simplicity is an extremely important factor, and one of the
chief virtues of road pictures; one tree, a bit of road, fences and a
nice sky are often quite enough to make a picture. ' ' A road by
itself seldom makes a good picture, for the foreground is very
difficult to manage; therefore, it is necessary to have, in addition to
the road itself, a tree or two in the right position. Greater interest
can be installed in the scene if a team of horses and a wagon are
introduced in, or near, the foreground. Care must be taken, how-
ever, that the moving object in the picture is not too near the camera,
chereby attracting too much attention and perhaps detracting from
your original intention of having a photographic reproduction of a
road.
382. Poor Results With Color Corrected Materials. — The greatest
difficulty here is in improper exposure — the majority of cases are
under-exposures. We called your attention to this feature in Para-
graph 276, and stated, "you will find that a generous exposure on a
ordinary plate, carefully developed, will give a far better rendering
of values than an insufficient exposure on an ortho plate, through a
screen." Therefore, whatever you do, do not under-expose when
employing color corrected materials.
383. Over-correction. — Another difficulty experienced when using
the orthochromatic plate and a ray filter is the obtaining of orer-
correction. There are a great many cases in which it is absolutely
unnecessary to use color corrected plates and ray filters. It will do
no harm to use the orthochromatic plate, but judgment must be
exercised in using the ray filter in conjunction with the orthochromatic
plate. The main object of the ray filter is to filter out the blue rays
of light and not allow them to act upon the sensitive plate. So,
when you have a scene practically devoid of blue tones it will not be
necessary to use the ray filter. This you will observe more strongly
when photographing through a mist, haze or smoke. These conditions
172 Library of Practical Photography.
act as ray filters themselves, retarding, as they do, the blue and violet
rays of light.
384. Under no circumst-ances should the beginner attempt to use
color corrected materials until he has become thoroughly familiar
with the ordinary plate and is able to produce a negative of good
quality on it.
385. Figures in Landscape Too Small. — When photographing
landscapes in which figures appear, the great mistake beginners make
is that they wait before making the exposure until the subject gets
too far away. The beginner does not realize that every step the
object moves away from him, just that much smaller will the object
appear. The lens has not the accommodating brain to reproduce the
object in the size that the individual imagines the object appears.
You should practice with your camera previous to making an exposure
by observing on the ground-glass the size of similar objects situated
at varying distances from the camera.
386. Figures Not Harmonizing With Landscapes. — A great many
landscape scenes require certain objects to carry out their meaning,
while other objects would be entirely out of place and detract from
the interest of the scene.
387. Figures Too Large. — This difficulty seldom occurs with the
average amateur, but when the figure is too near the camera it will
take up too much space and be more particularly a photograph of the
figure than of the landscape. Consider whether you are to make a
landscape picture, having the figure simply as an accessory to carry
out your idea; or whether you must have the figure as the main point
of interest and the landscape of simply secondary importance — more
as a background. When a figure appears in the foreground of a land-
scape and the horizon is too low, the figure will be distorted and have
the appearance of being a giant. This difiiculty often occurs in hand
camera work, and care should be taken then that the camera is not
held too low.
388. Groups Too Scattered. — If there are a number of figures in
the landscape scattered through the picture space, the attention of
the eye will be distracted and not concentrated on any one item, thus
causing an uneasiness to the observer which results in an utter
failure, from the pictorial standpoint at least. Figures should be
grouped to carry out the idea of the landscape, and should be arranged
according to lights and darks, in a manner that will secure harmonious
composition.
389. Groups Too Large for Landscape. — This difficulty is ap-
proximately the same as the one given in Paragraph 387. You must
take into consideration whether or not the group or the landscape is
the main object you are photographing.
390. Uninteresting Foreground. — This difficulty will occur when
Difficulties — Landscape Photograph}). 1 73
you do not give this extremely important portion of the picture its
due consideration. From the point of view of composition, the fore-
ground should receive the greatest amount of attention; but, in the
majority of cases the beginner and average amateur pay very little
attention to the proper rendering of this item. Not only is lack of
attention the reason for disregarding the foreground, but the dif-
ficulties experienced in arranging and regulating, in a satisfactory
manner, objects and figures, as well as plants and animal life, are
reasons for so many failures in properly handling the foreground.
391, A second and very common difficulty which leads to a
valueless foreground is the use of a lens which takes in too wide an
angle of view. If you have met with difficulty along these lines,
you should go back to Chapter IX, and study again, very carefully.
Paragraph 287 to and including Paragraph 299, as this feature of
landscape photography has been dealt with most carefully.
392. Lack of Interest in Street Scenes. — This difficulty is also
very carefully handled in Chapter IX, Paragraphs 300 to 307. The
most common error made by the average photographer is that he
waits too long after appearing on the scene before making the
exposure. You should not wait until the people who come in the
angle of view have become aware of your presence, for as soon as
they know they are being photographed they will immediately assume
attitudes which are entirely unnatural and unfitting to the street
scene that you are attempting to photograph. In case the subjects
included in your picture space have become aware of your presence,
you must resort to some sort of stratagem. For instance, you can
proceed according to the directions given in Paragraph 306. The
lighting has much to do with increasing the value of a street scene.
Many times obtrusive and uninteresting features can be thrown in
deep shadow, while the important and strong characteristics of the
street scene may be in a strong light, which will, of itself, accentuate
and bring out, in the strongest possible manner, the pleasing and
valuable items which make the street scene an interesting one.
CHAPTER XIII.
CLOUD PHOTOGRAPHY.
393. The landscape or seascape picture with sky is
not complete unless it contains the proper cloud effect. The
extreme amount of contrast between the light blue of the
sky and the dark green of the foreground when registered on
the plate with sufficient exposure to secure detail in the
foreground, will produce nothing but chalky white sky.
Over-exposure, almost a rule with the average amateur, may
be overcome, to a certain extent, by employing a slow brand
of plates. With these, a short exposure and small aperture
is almost sure to give a result that may be carefully de-
veloped into a useful image.
394. Regarding Exposure. — The actinic conditions vary
greatly with the time of day and the season of the year, as
well as with the weather conditions. It is impossible to give
a definite rule regarding exposure, except that which comes
by practice. A deep, clear, blue sky as background allows
of a much longer exposure than one in which everything
is of a glittering silver gray. Then, too, much depends on
the position of the sun relative to the clouds — the longest
exposure being allowable when the sun is at right angles to
the cloud.
395. Double Printing Method. — There are two prac-
tical methods which may be employed to secure cloud
effects in pictures: One is known as the "printing-in"
method, and this no doubt, when properly done, is one of
the most practical ways of securing cloud effects. This
method is many times an absolute necessity, if it is desired
to have clouds appear in conjunction with the foreground,
because it is not always possible to photograph clouds and
foregrounds on the same plate. Results true to nature will
be secured, however, when the clouds and landscape are
175
176 Library of Practical Photography.
secured on one plate in the proper relative printing value,
for then both the clouds, and the landscape will be properly
and similarly lighted. It is extremely important that the
light on the clouds and that on the foreground fall at the
same angle and in the same direction. There is nothing so
irritating or displeasing as to see a print in which the
clouds are lighted from one side and the landscape proper
from the other. When this occurs it shows that the worker
was either extremely careless or unobserving. Where the
printing-in method is to be employed the clouds must be
taken when they appear at their best, or when you find them
to be adapted for a landscape in which you desire to have
them appear. The resulting print, which will be a combi-
nation of sky and landscape, is obtained in the printing.
396. Notice Illustrations 40, 41 and 42. Illustration
No. 40 is a reproduction from a print made from a regular
cloud negative; No. 41 is a reproduction from an ordinary
print which lacks clouds, while Illustration No. 42 shows the
result of combining the sky with the foreground. Full
instruction for the manner of printing-in will be found in
Volume IV. Athough Illustration No. 42& is an improvement
over Illustration 42a, yet it has a noticeable fault. It will
be observed that the clouds are lighted from one direction
and the landscape from another, while the river surface
shows the blankness of a cloudless sky, instead of the
heavy reflections which would appear with such a sky as
shown in Illustration No. 42&. To attain a natural effect,
the sky negative used should have been inverted — film side
out — and the clouds lightly printed into the water space.
Or at least the water portion of the print, before developing,
(Gaslight paper) should have been toned down to a shade
approximating but lighter than the sky tones above. In at-
tempting to improve a foreground or landscape study by the
addition of clouds, the aim should be to reproduce nature as
near to the truth as possible.
397. A method by which the clouds may be registered
in their proper value upon one plate with a foreground
subject, is to cut off mechanically a portion of the light
Cloud Photography. 181
from the sky in making the exposure. There are numerous
ways of effecting this. One is to employ the focusing cloth
in place of the shutter, raising it quickly in front of the
lens to make the exposure and then lowering it slowly to
cut off the light from the sky while still exposing the fore-
ground. It is possible to use the lens cap in a similar
manner; the exposure being made by treating the top edge
of the cap as a pivot and raising it slowly from the bottom,
in this way covering the upper portion of the lens while
making the exposure. There is a shutter on the market
known as the Sky-Shade Shutter, which works automatically,
giving the sky much less exposure than the foreground, and
results secured with this shutter prove very satisfactory.
(See Illustration No. 43.)
398. The ray filter described in Paragraphs 182-196 of
this volume can also be used to secure cloud and landscape
on one negative. As the ray filter absorbs the blue rays,
to a great extent, the foreground secures proper exposure
without over-exposing the sky.
399. Selection of Clouds. — If it is your intentiim to
make a series of cloud negatives to "print-in" with the
foregrounds of other negatives, you must make a very
careful selection and secure cloud effects that will har-
monize with the foreground subject. Clouds that typically
belong to seascapes would be entirely out of place when the
foreground represents a mountain scene, for instance. The
importance of clouds will be well understood when you stop
to consider that white paper can never truly represent the
sky portion of any landscape or other out-door subject.
There was a time when many amateurs would have one
stock cloud negative and use this negative for every subject,
but this error is not common now among serious workers.
400. Cultivating Observation. — Read the instructions
which follow, cultivate your faculty of observation and
notice carefully at different hours during the day the various
lightings on the clouds. Whenever you have an opportunity
to observe cloud effects, do not fail to carefully note the
difference between clouds in one class of landscapes and
182 Library of Practical Photograph]).
those which go with seascapes or other landscapes. Do
not forget that different climatic conditions have much to
do with the forms of clouds. Heavy storm clouds should not
be employed with scenes representing a bright sunny day.
401. Fair Weather Clouds. — In fair weather the clouds
have a very delicate thread-like appearance and settle at a
great elevation, sometimes resembling mere smears of white
in a clear blue sky. At times these streaks are parallel,
sometimes intersected and often may be accompanied by a
light breeze. Clouds of this type are called Cirrus clouds
and most successful results will be secured in photographing
them by using orthochromatic plates and ray filter. Cirrus
clouds give a most useful variety of negatives, as the
direction of light is so faintly indicated that few mistakes
are likely to occur when employing them with almost any
evenly lighted landscape.
402. A denser form of fair weather cloud which rolls
along in strong majestic masses, towering upwards from the
horizontal base is called Cumulus cloud. This cloud forms
one of the most striking types to employ, as its definite shape
is very often useful in composition. Some difficulty, no
doubt, will be experienced in securing a satisfactory nega-
tive with these clouds on a strongly lighted foreground,
for in most cases they are strongly lighted themselves, and
unless the direction of light is identically the same in both
the sky and foreground, the result of the combination will be
extremely bad. Before a rain, the masses of Cumulus in-
crease rapidly and become fleecy and irregular in their form.
403. Wind Clouds. — The Stratus is well indicated by its
name, and is the cloud appearing lowest or nearest the hori-
zon. This type of cloud usually precedes bad, foggy
weather, but you will find it very effective if you can pho-
tograph it properly, especially at sunset.
404. The combination of the Cirrus and the Cumulus
clouds form what is termed the Cirro-Cumulus, rounded
in shape, appearing in detached horizontal layers. The
upper portion of this cloud is some times called "Mare's
Tails," and it always indicates a fair amount of wind. This
Illustration No. 43
Skvshade Shutter
See Paragraph No. 397
Illustration No. 44
Reflex Camera
See Paragraph No. 460
Cloud Photography. 185
cloud is generally whiter and much better defined than the
Cirrus and is also much easier to photograph, owing to the
fact of its being less actinic in color.
405. A combination of the Cumulus and Stratus clouds
form the Cumulo-Stratus, which is stronger and denser than
the Cumulus. It foretells stormy weather. When the Cumu-
lus cloud thickens rapidly upon the approach of wind and
rain it takes on all the characteristics of the Cumulo-
Stratus.
406. The Cirro-Stratus lies in longitudinal streaks and
is usually called the mackerel-back sky. Windy and tem-
pestuous weather is very apt to follow the appearance of this
cloud.
407. All of these clouds appear most frequently in con-
junction with the blue sky and with the exception of a sun
lit Cumulus generally need an orthochromatic plate and ray
filter for correct rendering. Cumulus may also need this
attention, but the great wooly masses of clouds are some-
times so strongly defined that the use of a screen would
effect "over-correction."
408. Stonn Clouds. — Cumulo-Stratus and Nimbus
Clouds can usually be secured without employing a ray filter,
for they are very often made up of heavy semi-dark tones
and such shades of gray that the ordinary plate will photo-
graph them perfectly. Many times, employing color cor-
rected materials for these clouds will result in making them
look exaggerated and unreal. The Cumulo-Stratus grows
irregularly upward into piles of extremely striking magnif-
icence. A hugh towering mass of heavy clouds rolls up from
the horizon in striking form, full of grandeur, over-hanging
its base and frequently foretells a thunder storm, especially
when covering the sun so that its edges are given the ap-
pearance of gold. If striking pictures are desired this cloud
provides the finest material for you to employ, but you must
exert a certain amount of care, and bear in mind that the
climatic conditions which exist at the time the cloud is
secured must also have existed when making a landscape or
186 Library of Practical Photography.
seascape which is to be used in conjunction with the cloud
negative.
409. The Nimbus Cloud belongs properly to the
sea. It travels and increases in size at a great rate. It is
very dense and dark, and is accompanied by rain and some-
times thunder and lightning. It often completely covers
the entire sky with a dark mass that possesses no pictorial
beauty, yet serves as a most effective background for storm
seascapes. When the cloud is forming, or as it is dispers-
ing, pictures of great beauty may be obtained ; especially is
this possible when the cloud has burst and the broken parts
which are very dark at the edges, form into loose and jagged
shapes. These broken and rapidly flying parts are called by
sailors, "scud," and are the proper clouds for any picture
representing very stormy weather.
410. From these different varieties of clouds you will
observe that they arrange themselves into three distinct
groups — fair weather clouds, irhid clouds and storm clouds. If
you will give careful study to the landscape or seascape into
which you desire to print clouds, you will be able to obtain
artistic and true-to-nature pictures. Three cloud negatives
will answer the purpose for ordinary use. You should have
one representative cloud negative of fair weather clouds,
one of wind clouds, and another of storm clouds. These
will be lighted, of course, from one particular side, yet if
you wish to employ them with a landscape which is lighted
in the opposite direction, you can reverse the cloud nega-
tive in the printing frame so that the film side is facing out
instead of being in contact with the paper. A slight diffu-
sion will result, but it will be practically unnoticeable, and
not at all objectionable. In this way you have practically
six cloud negatives — a sufficient number for the average
worker. If you will watch the various transformations,
especially in the higher clouds, you will see that the change
is extremely rapid. Take, for instance, Cirro-Cumulus
clouds and watch them for a few minutes; or even make a
series of six or eight pictures at intervals of a couple of
minutes. This will show very clearly the process by which
Cloud Photography. 187
the change takes place, and will prove of great interest and
value to you. Storm clouds of any character should be
similarly studied, in order that you may understand more
perfectly the correct cloud effects to use in conjunction with
various foregrounds.
411. Exposure to Obtain Cloud Negatives. — In secur-
ing these cloud negatives separately, so that you may print
them over landscapes or seascapes that require their assist-
ance, attention need only be paid to the actinic quality of
the sky, which can be taken as about ten times that of the
landscape. Taking for granted that the exposure for the
average landscape subject, when the sun is shining and you
are using an F. 8 stop is 1-50 second, the sky alone will be
fully exposed with 1-500 second. If your shutter's highest
speed is but 1-100 second, you can use a five times screen and
then obtain a fully-timed negative ; but, should you not
possess the screen you can obtain almost the same effect by
using F. 16 stop, instead of F. 8, and no screen.
412. You can rely upon this being a practical rule;
that, using a certain plate, stop and exposure for obtaining a
fully exposed negative of a landscape subject, a five or ten time
screen can be advantageously employed for photographing sky
alone. With the exception of certain clouds of the afore-
mentioned Cirrus type, the form and lighting of every cloud
should be in accord with the lighting of the landscape.
413. If the lighting of the landscape is not marked
and strong, the lighting of the cloud should not, as a rule,
be so strong. There are times when you will really see bril-
liant clouds in conjunction with a landscape in deep shadowy
but this is not absolute proof that you should always folloAV
out this idea in your selection of cloud negatives to print
with foregrounds. The aim is to take advantage of Nature
at her best, when she presents her most pleasing aspect.
414. Where to Photograph Clouds.^Although the sea-
side or other places where an uninterrupted view of the
horizon is to be obtained usually present the best oppor-
tunities for securing cloud negatives, no lack of material
will be found inland. In most cities it is possible from vari-
188 Library of Practical Photography.
ous points, to obtain a fairly clear view of the sky, unob-
structed by chimneys, telegraph poles or wires. It makes
little difference whether the point from which you make the
exposure is on the top of a high building or on the outskirts
of the town. All depends upon circumstances.
415. The Horizon. — A portion of the horizon should
always be included in the base of a cloud picture. If the
horizon is hidden, a small portion of tree tops or house tops
should be retained, but in no case should cloud negatives be
taken if it is necessary to point the camera up to any extent.
The clouds seen on the horizon are very different in form to
those at the zenith, which latter are quite unsuitable for
printing-in purposes. The perspective of cloud forms is
very marked if the masses are distinctly outlined, and this
you must bear in mind when adding a sky to a landscape.
416. The horizon of the cloud negative should come as
nearly as possible to the same point in the picture as the
horizon of the landscape. In this way only will you be able
to secure perfect perspective of the sky. It is also very im-
portant to use a lens of the same focal length as the one em-
ployed in making the landscape negative.
417. Full instruction regarding combination printing
and printing-in clouds is given in Volume IV.
418. Practice Work. — After having become fairly fa-
miliar with the various types and forms of clouds, make an
exposure or two of the best subjects at your command. It
may be necessary to watch carefully for a number of days
before you are able to obtain any great variety of nega-
tives. In developing sky negatives do not carry them as
far as ordinary negatives ; they must be crisp and snappy,
but not dense.
419. Make good proof prints from each experiment,
and place your notations, which will give you full informa-
tion regarding the manner in which you proceed to secure
the results, on the back, and file them in your proof file for
future guidance.
r
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IpijBLlC
CHAPTER XIV.
SNOW AND FROST PHOTOGRAPHY.
420. Every season of the year has its own special fea-
tures that invite the camerist to work with his instrument.
But the winter season is specially inviting because of the
subtle charm of the winter landscape. Nobody who has not
seen the hills in winter knows their real beauty and im-
pressiveness. There is a charm and grandeur about them,
when draped with snow, that must be seen to be appreciated.
The valleys, too, have a weird attractiveness when buried
beneath the snow drifts. The rocks and cliffs stand out
boldly against the white background of the fields, while
the mountain streams show an inky black flowing between
the banks of snow.
421. The absence of color, perhaps, makes it possible
to reproduce these winter landscapes more correctly with
the camera than by any other method. But the great dif-
ficulty which arises is, how best to shun too great extremes
of black and white in the picture. There should be grada-
tions of tone. The blackness of the water should contain a
suggestion of transparency, not a solid black, while the
trees and rocks, though gray and really lighter in tone than
the water, should give an impression of solidity. In brief,
the picturing of snow is one of the most difficult feats of
photography.
422. Snow and Frost Subjects afford a wide field of
photographic work and are deserving of much more recogni-
tion than they usually receive. In the first place, the most
striking results will be obtained when the snow scenes are
taken in sunshine, and when possible the exposure should
be made in the forenoon before 9 :30 and in the afternoon
191
192 Library of Practical Photography.
after 2 o'clock, on account of the better light and longer
shadows which prevail at these times.
423. Pay Strict Attention and notice the difference be-
tween sunlit snow scenes and those devoid of this important
factor. The shadows also often play a very important part,
from a pictorial standpoint. A delicate shadow-form will
sometimes break up a most uninteresting foreground and
prove to be a very important feature in the composition.
424. Subject Material. — It is needless to say that work
of this class must be done in the winter season, and you
should always be prepared for snow and hoar-frost pictures.
The scenes come so quickly and are gone so soon, that no
time is left to go to the dealers for plates, or to clean up a
camera that has been idle for some months. Your plate
holders should always be loaded with plates, and if kept
in the carrying case, or in any other safe place, you w411
find that they will remain in good condition for two or three
months. The risk is small and the advantage of having your
outfit always ready is great. Not only snow, frost and mist
pictures are worthy of being photographed, but when the
thaw comes, with the wet, sloppy roads and stormy skies,
you will have subject material that deserves any amount of
careful consideration.
425. A Country Road on an Early Morning. — After a
heavy hoar-frost has settled on the trees, shrubbery and
fences, they present an exceptionally valuable and interest-
ing subject from an artistic standpoint.
426. If you have, up to the present time, done very
little at winter photography, many surprises are in store
for you. Subjects which in summer are almost hopeless, will
be found to provide telling pictures when clad in their
winter garments. Take for instance, an ordinary hedge with
a common field gate, covered with frost and snow, and open
the gate at a picturesque angle. A simple subject like this
in sunshine, or better still with a good winter sky, will often
make quite an effective study. Each blade of grass is cov-
ered with soft white powder, and every bush is transfigured
by it. Then, again, you will find excellent material in white
SnoTV and Frost Photograph]). 193
trees standing as sentinels over white fields; white woods
standing on the breast of snow-clad hills ; a rough roadway
after a light fall of snow also presents a very attractive
appearance (in such a subject make good use of the
wheel ruts) ; reed-grown banks on ponds and streams; pas-
tures with cattle and trees ; snowdrifts in sunshine, and the
hundreds of similar objects which will suggest themselves
after you have made a few trips at the right time.
427. Cultivate Observation. — Before attempting to pho-
tograph subjects of this class, study them at other seasons
and note their characteristics. The knowledge thus gained
will help you materially in your work, and also aid you to
secure results with greater dispatch and comfort when the
proper moment arrives.
428. The Camera. — A hand camera is perhaps the most
serviceable instrument for securing snow pictures, because of
its lightness and portability. It will also be found con-
venient for long winter tramps over the open country.
429. A waterproof focusing cloth affords the needful
protection against weather conditions. Even with this
equipment the practice of snow photography is difficult. The
difficulty lies in the great contrasts which, as just stated, ex-
ist between the brilliant snow and the dark objects of the
landscape. The same procedure should be adopted as in
other cases of strong contrast — the use of specially prepared
plates and proper development. Non-halation or backed
plates should be used.
430. Exposure. — The greatest of care must be exer-
cised that you do not over-expose when making snow pic-
tures. The white snow reflects the strong light and the whole
scene is of practically an even tone, and if the plate is at all
over-exposed it will be extremely flat. If anything, you
should err on the side of under-exposure. With a F. 16 stop
and an ordinary rapid plate or film, 1-100 of a second will be
a great sufficiency of exposure. If the light is very diffused
it may be permissible to use an exposure of 1-50 of a second ;
but even in diffused light there are so many cross reflec-
tions and the whole scene will be so evenly illuminated, that
194 Library of Practical Photograph}).
it will be a very easy matter to misjudge the correct amount
of exposure necessary. Usually one-half the exposure of a
scene without snow is sufficient for one with snow. For
example, if you would give l-50th of a second without snow,
1-100 would be approximately correct for the same scene
with snow\
431. Lens Shade. — Some times reflections from the
snow, difficult to avoid, will be cast into the lens. To over-
come them make a cone of black cardboard and fit it around
the lens. The cone must not be long enough to interfere
with the angle of view of the lens, yet should cut off the
direct reflection from the snow that would otherwise come
into the lens. Holding the slide of your plate holder or any
black object under the lens will prevent reflected light from
striking it. Reflections wnll not always occur, much depend-
ing on the angle of light into the view. The reflection can,
of course, be detected on the ground-glass when focusing.
(See Illustration 4Sff, Page 232.)
432. Advantage of the Ray Filter. — The sensitive
plate is always affected by the strongest lights, w^hether re-
flected or direct; and, in consequence, the more subdued
lights are very hazy and misty in the shadows. The best
way to overcome this haze and mist is to give quick expo-
sures and to use a ray filter.
433. A strong sunlight on the white snow, especially
where the sun faces the instrument, will have the same ef-
fect upon the lens and plate as it would upon the human eye
when looking at the snow with the sun shining upon it. In
the latter ease the eyes are weakened and almost blinded by
the dazzling whiteness.
434. Lens vs. Human Eye. — If you zvcre looking at some
distant object across a field of snozv it would be almost impos-
sible to see it, and the longer you looked the less you would
be able to see. This is exactly what happens to the lens and
sensitive plates. The longer the exposure, under the above
conditions, the less the lens will see, which results in your
obtaining very little detail on your sensitive plate. Like the
human eye the plate will have fogged over and the image
SnoTV and Frost Photography. 195
appear veiled. When you first looked at the snow your
vision was perfectly clear and you could see all of the detail.
Now, transferring this example to the "seeing power" of
the lens, you can realize why the short exposure on your
plate will give the best results, rendering plenty of detail,
while a longer exposure will produce fog.
435. By the Use of a Ray Filter (which has been pre-
viously described) the activity of this curtain of strong light
— the reflection of sun on the snow — will be reduced enough
to give a good rendering of the highlights in the negative
and secure sufficient detail in the shadows. Thus the ray
filter acts on the lens like smoked or blue glass upon the
eye. The blue glass prevents the yellow rays of light from
affecting the eyes, enabling one to see distinctly the various
objects which are situated on the glaring snow. When the
ray filter is used on the lens it keeps the chemical rays of light
from acting in a similar manner on the sensitive plate, and
little or no fog will result.
436. Color of Ray Filter.— The color of the ray filter
should be light amber. Using the ray filter you can give a
slightly longer exposure, preserving the detail in the fore-
ground, and at the same time securing detail in the shadows.
437. There are many good, inexpensive ray filters on
the market, which you can secure from any stockhouse deal-
ing in photo supplies. When ordering a ray filter be sure to
give the exact size of your lens barrel.
438. Development of Snow Negatives. — In making
snow negatives one should aim to reproduce the original as
truthfully as possible. As snow is white, it will be neces-
sary that the negative be sufficiently dense to retard the rays
of light and have the portions which represent snow in the
picture only slightly tinted. Do not infer from this that the
highlights should be void of detail. The delicate half-
tones which exist in the snow scene must be reproduced.
This, however, is dependent to a certain extent upon the
correct judgment of exposure. If too much exposure has
been given the delicate half-tones will have been over-
exposed pud unless the amount of over-exposuxe was known
196 Librar]) of Practical Photograph}).
in advance it would be difficult to rectify this in develop-
ment. It is necessary tp secure a fairly strong negative, the
highest point of light being quite dense; remembering, of
course, not to carry the development so far as to destroy the
relative values of the delicate half-tones in the highlights.
439. The formula for the Universal Developer as given
in Volume II should be used for this class of work. Be very
careful of the temperature, remembering that the best chem-
ical action takes place at 65 degrees Fahr. Never develop
plates when they are chilled and cold, as they will develop
flat and be even poorer than a greatly over-timed exposure.
440 Printing. — The finished negative must be one that
will produce texture of the snow, allowing the shadows to
be transparent but not black, heavy masses. Above all, the
snow must be luminous snow, and not a dirty, uncertain mass.
If you preserve the texture of the snow the whiteness will
be soft, but not the hard, blank white so often seen in pic-
tures that are supposed to represent the natural quality of
snow.
441. Snow pictures look exceptionally well on platino-
type paper, as it renders a rich and realistic effect that is
somewhat difficult to obtain on printing-out papers. If you
are familiar with the carbon process, unsurpassed results
can be secured by printing upon Engraving Black or Blue
Black. If bromide enlarging is resorted to, you must be
sure to use a developer that will give a rich black without
clogging up the shadows, and for this you will find metol
an excellent agent.
442. Practice Work. — Should you have an opportunity
to photograph snow scenes, apply this instruction and make
several negatives, slightly varying the exposure of each and
develop one plate at a time, as the first plate developed
provides you a key for the developing of the remainder.
443. Make good proof prints from each experiment and
place notations on the back of the print covering full
information regarding the exposure and development, as
well as the manner in which you proceeded to secure the
results, and file in your proof file for future guidance.
X
i in- ;miW YORK
PUBLIC LIBRARY
CHAPTER XV.
DIFFICULTIES— CLOUD, SNOW AND FROST PHOTOGRAPHY.
444. Flat Cloud Effects. — Flat cloud effects are invariably due
to over-exposure. When it is desired to secure the landscape on the
same negative with the sky, the light from the clouds, which strikes
the sensitive plate, must be retarded sufficiently to allow enough ex-
posure to bring detail out of the landscape. To produce strong cloud
effects, with depth and roundness, employ color corrected materials,
as directed in Chapter XIII. A careful study of this chapter will
enable you to secure the very best results possible to obtain.
445. Difficulty in Photographing Clouds. — The greatest difficulty
in securing the right kind of cloud negatives will be your inability to
obtain the proper subjects at the right time. Therefore, you should
always be on the lookout for various cloud effects, and even if you
have no particular use for the cloud at the time, you should make
one or more negatives of it, so that you may have it on hand to use
whenever you desire it.
446. In making regular cloud negatives select a place where you
can secure a clear view of the horizon, unobstructed by telephone
poles, trees, houses, etc. The seashore is the best place for photo-
graphing clouds; but from house-tops, or even from open fields in the
country, you can secure the proper results. We would again urge the
importance of giving short exposure. Over-exposure always flattens
the effect, and in cloud photography, especially, there is great danger
of ruining an otherwise pleasing cloud effect.
447. Moisture Gathering on Lens. — If the lens is taken from a
warm room into the cold air, moisture will form on its surface. In
this condition no exposure should be made, as the resulting negative
will be under-exposed and appear very foggy. It may be necessary
to wipe this moisture off perhaps two or three times, or until the tem-
perature of the lens becomes the same as the atmosphere. In a short
time, the moisture will not gather and you may then proceed to make
the exposure. In wiping the lens always use a soft cloth — one which
wiU not scratch the surface of the lens.
448. Focusing Snow Scenes — (a) If difficulty is experienced in
focusing and securing sharp image on the ground-glass, the trouble
will invariably be due to a strong reflected light which strikes the
199
200 Library of Practical Photography.
lens and gives a hazy, foggy image on the ground-glass. The lens
must be shielded in some way. Usually, holding the slide of the plate
holder or any other dark object of a similar nature under the lens,
will cut off the reflected light from the snow and allow of a sharp
image being formed on the ground-glass. A conical-shaped hood may
be placed over the lens as described in Paragraph 431. In fact when
making snow scenes, it would be advisable to always employ a hood
of this kind, as you will almost invariably experience difficulty from
cross reflections and reflected light from the sun. (b) If the lens is
pointed directly towards the sun, it will be impossible to secure a
sharp image on the ground-glass. Especially when making snow
scenes you should aim to have the sunlight fall from the side but not
towards the lens. Light coming from the side will invariably do
away with any serious amount of reflected light and you will be able
to focus without any trouble whatsoever.
449. Flat Snow Negatives. — Flat snow negatives will invariably
be due to over-exposure. A minimum amount of exposure should be
given as this is one instance where you should err on the side of
under, rather than over-exposure, for it is not at all difficult to secure
detail even in the deepest shadows when photographing snow scenes.
Less than half the exposure is necessary to secure a snow negative
full of detail than is required for producing the same amount of detail
when there is no snow on the ground. Care must be also exercised
when developing snow negatives that the developer is not too weak,
for in this condition it would bring out detail rather than produce
density and in order that a correct rendering of the snow scene be
secured, it is absolutely necessary that the highlights be strong, yet
fuU of detail. A normal developer is usually the best to employ.
450. Lighting. — The lighting has much to do with relief, round-
ness and atmospheric effect. If the sunlight falls perpendicularly
upon the scene as is the case during the noon hours, you will not
secure the valuable shadows which add greatly to the effect of round-
ness and secure the necessary contrast which you must have in the
snow scene to make it appear real. The best time of day to make an
exposure is in early morning or late afternoon when the shadows are
longest. At either of these times there is not as great a danger of
over-exposure as at noon, when the sun is strong and the light falls
almost perpendicularly, thus giving practically no shadows and a flat
picture.
451. Snow Appears Dirty. — This will be the result if you
have over-exposed and under-developed your negative. There must
be contrast between highlights and shadows and there must also be
detail in the shadows, but the highlights should be developed suffi-
ciently strong so the negative in these portions will be almost opaque,
thus retarding the action of the light on the sonaitive plate.
Difficulties — Cloud, Snow and Frost. 201
452. Highlights Appear Hard With no Detail. — This is caused
by over-development as well as by slight over-exposure; or per-
haps too strong a developer. A correctly developed negative should
be carried in the developer until the highest points of light are prac-
tically opaque, but the delicate half-tones in these highlights should
be preserved. This is accomplished by careful development and will
only result when proper judgment is exercised in stopping the action
of the developer at the right time. A snow negative should be soft
and delicate. In fact strive to reproduce exactly what you saw in
the original. To be successful you must give particular attention to
the exposure and then be able to develop the negative to exactly the
proper density. Always use a normal developer and when the image
first appears, if it shows signs of too much contrast, dilute with water.
If the plate appears flat, add a few drops of bromide and conclude
the development.
CHAPTER XVI.
Part I.
SEASCAPE PHOTOGRAPHY.
453. The majority of the camera users at the seaside
can be divided into three different classes. We do not in-
clude tintype photographers, but simply consider amateur
photographers, who are usually visitors, enjoying a holiday
at the seashore.
454. In the first place, there is the amateur who car-
ries a camera because it is the fashion. He generally favors
a small size and the type of kodak which will fold into small
space. If the camera or kodak needs but the pressing of a
button to secure the exposure, and has no focusing mechan-
ism or appliances to attend to, he is more than satisfied ;
being quite content to occasionally point the instrument in
the direction of a distant yacht or a group of young lady
excursionists, "just for the fun of the thing."
455. The second type is the enthusiastic snap-shotter,
who may be termed the "plate-maker's friend." At the sea-
side he uses more plates in a week than he cares to think
about in calmer moments, later on. While he is in the field
he will shoot away at probably anything in sight, counting
himself fortunate to secure even one or two good pictorial
negatives. As a rule, you will see him rushing back to his
hotel, or to the local dealer's dark-room, to load up his plate
holders or magazine for the second or third time during the
day. If he employs films, his pockets will bulge out with
spools, with which he is well supplied. This class of amateur
conscientiously develops every photograph he takes, and
203
204 Librar}) of Practical Photography.
later makes postcards from the negatives, to send to friends
who have not been so fortunate as to have enjoyed a vaca-
tion. True, some good pictures will be secured and his work
may prove to be sufficiently good to make his non-photo-
graphic friends envious, or sufficiently bad to make his con-
temporaries endeavor to produce something better.
456. To the third class belongs the serious worker, who
sets about the picture making business in earnest. He re-
gards each snap of his shutter with the satisfied air of the
fisherman who has just landed a fine specimen of trout. He
makes a box of plates or a spool of film last an entire holi-
day, but secures something good with each exposure.
457. Quite closely related to this worker is another,
who, although equally careful and thoughtful of details, is
bound in fetters of conventionalism that render him helpless
without an exposure meter. His pockets bulge with note
books and tablas, and exposures are calculated with the
same precision that he employs in weighing out hypo, or
pyro. He permits no room for error, and is emphatic in
reasoning. In fact nothing can be done approximately —
everything must be. just so. In the end, no one sees his
results.
458. The Camera. — For holiday work the view camera
and tripod are not much in favor at the seaside, for many
reasons. Aside from the fact that seaside work will prob-
ably include pictorial material with a certain amount of
motion, the light is so actinic, during the summer, that snap-
shot exposures used with a slow plate are almost always a
necessity. Beyond the occasional opportunity for compos-
ing a picture on the focusing screen, there is very little need
for using a camera on the tripod at all.
459. Handling the Tripod. — If, however, a tripod is
employed on any occasion, care should be taken to see that
the points of the legs are on a firm base. If the tripod is
erected on wet sand, it will very often be found that between
the periods of focusing and making the exposure, the camera
has sunk an inch or two in one direction, and the negative
may therefore be spoiled.
TILDEN FQ!
"ALL ABOARD"
Study No. 23 — See Page 313
By Wm. T. Kxox
Seascape Photography. 207
460. Reflex Camera. — The very best camera for this
class of work is the reflecting type. Beach scenes, children
paddling, sea birds, men with carts collecting seaweed, boats
putting off from shore, and the hundred and one instances
and happenings at a seaside holiday resort can be best ren-
dered by the reflex hand camera, which permits of focusing
up to the instant of exposure. (See Illustration No. 44,
Page 184.) For other subjects, such as breaking waves or
yachting scenes, or any t.ype of work where the lens or cam-
era is likely to be splashed with spray, the reflex camera is
not so suitable, as the lens is left uncovered during the entire
period.
461. The Lens. — The lens suitable for all around work
at the seaside, during the summer season, need not be an
expensive anastigmat, although this type of lens will give
the finest results, especially if enlargements are to be made
from the negatives. The ordinary rapid rectilinear lens, or
even a good single lens, will, in most cases, serve excellently
for seaside subjects. The reason is, that considerable stop-
ping down is allowable, owing to the intensity of the light.
The lack of covering power that might exist at full aperture
is, therefore, corrected.
462. The Diaphragm. — F. 16 is a normal diaphragm to
use for beach scenes or seascapes, and with a rapid ortho-
chromatic plate fully exposed negatives should be secured
at 1-lOOth second. The lens to be used is one that will
permit of exactness of definition all over the plate. At a
large aperture a light color screen can be employed to ad-
vantage, and cloud effects are secured on the same plate with
the foreground.
463. The Plates. — Orthoehromatic plates are now made
of such rapidity and fine quality that there is no excuse for
not using them under all circumstances. For seaside work
they are better if backed. The glare of light in open sea-
scapes is often responsible for a considerable amount of hala-
tion produced with an unbacked or ordinary plate.
464. Films, of course, are very useful. If the photog-
rapher makes many exposures the weight is a serious item,
208 Lifcrarip of Practical Photography.
and cut or roll films should certainly be used. They are
also made orthochromatic and possess practically all the
virtues of plates, with the added advantage of lightness, as
well as being non-halation.
465. Focusing Scale. — Another point worthy of atten-
tion by the earnest hand camera user, especiall}^ if the cam-
era is a new one, is to carefully test the focusing scale be-
fore starting on the holiday. Bear in mind that the brilliant
light of the seashore is very misleading in judging distance,
and if the snap-shotting of groups or objects on the sea-
shore is attempted, the preliminary test will not only be use-
ful for the sake of the camera, but will greatly aid in train-
ing the eye.
466. Selecting Subject Material. — The best subjects to
photograph must be left to the individual taste, but we
would urge upon you not to waste plates and material on
the common things which you are able to purchase as sou-
venir postcards in any of the news stands. It is well to aim
at something that will please you for more than the time
being. Don't be afraid of waiting half an hour, or even two
or three hours, for a suitable figure to come along just to
fill the space. Study the different effects of lighting at the
various hours of the day ; notice the difference in the effect
of the morning, noon and evening shadows. If you are in
some fishing village look out for quaint corners and odd ap-
pearing houses. If the sea is calm and the local fishing
vessels show broad reflections, take a boat and go out and
photograph them from the level of the water. There are also
scores of figure studies which will be available by watching
and waiting. Always take particular pains to see that the
groupings and the composition arrangement are the best
possible. Be careful, for instance, to avoid including others
than the fishermen in the view.
467. Figure Studies. — In figure studies a good distance
to stand away will be about 15 feet. This is near enough, as
a rule, to get the whole of the figure on the plate, and far
enough away to make the exposure before the individual is
conscious of what you are doing. The subject should never
<.imw^'^-^ ■"■" •'*'?««3ev^-
I
i'
I
I
r
m^^MmmMm^^t^iiii^imimsmmMm
OYSTER BOAT
Study No. 24 — See Page 313 By Dr. A. R. Benedict
SUNSET CLOUDS OVER BAY
Study No. 25 By S. I. Carpenter
LiDl'
LENOX
DATiONS
Seascape Photography. 211
appear to be looking at the camera, but should be interested
in some feature of the scene. If you are not sure of your
distance, always err on the side of getting the focus at a
point nearer than you estimated the distance to be. This
will insure your figure being sharp and will agreeably dif-
fuse the distance.
468. Estimating Distances. — As an example: With a
lens of 6 inch focus, suppose you estimate the distance of the
main object at 24 feet using stop F. 8; then every-
thing from 141/2 feet to 66 feet will be in focus. Now, sup-
posing you think the object is 24 feet away, but you are not
sure of it ; then, if you set the pointer at say 18 feet, every-
thing from 12 to 34 feet will be in focus, and if the object
really was 24 feet away there would be still 10 feet beyond
that point that would be in focus, a result that is very de-
sirable in almost every case.
469. Photographing the Sea. — If you have never had
any previous experience of seascape work, you will at first
be somewhat disturbed by the "largeness" of your subject.
It is very likely that the expanse of ocean, or even of the
beach, will strike you at first either as uninteresting or else
an impossibility. The latter decision will be arrived at after
you have developed your first seascape negatives. What has
become of the tumbling waves and the turning rollers that
appeared so big and fine to the eye? Surely those little
ripples in the foreground of the negative are not they, and
that straight, hard line of the horizon, cutting the picture
in two, was not there.
470. You will find in this work, that you are contending
with an entirely different proposition in sea photography
than you have been accustomed to in landscape work. It
will be necessary for you to exercise a greater amount of
time in selection, in order that pleasing and striking sea-
scapes may be obtained.
471. The every-day snap-shotter will find at the sea-
side less actual material with which to work than he will
meet inland. But, while stretches of wet glistening sand
and reflections are capable of the highest pictorial treatment.
212 Library) of Practical Photograph.
they require a great amount of maneuvering to secure the
best point of view for pleasipg composition.
472. Point of Interest. — Pleasing and striking effects
depend often upon a well placed mass of seaweed, some
broken piles, or even the reflection of a gleam of light, in
conjunction with striking cloud forms that are usually to
be seen in profusion during the summer season. If the sea
itself is photographed alone, and rocks, piles, fishing boats,
sailing yachts, etc., do not enter into the picture to form a
point of interest, prominent breaking wave-crests can be
watched for and utilized as the principal point, especially
if you will hold your camera low so as to bring the wave
above the horizon line. In many cases, however, a per-
fectly calm sea, rippling in over a stretch of seashore, com-
bined with fine cloud effects, will provide materials for a
very complete and satisfactory picture.
473. Fine vs. Stormy Days. — The instruction we have
just given applies more particularly to beautiful days, and
the work may be attempted by any one spending his holi-
day, with a camera, at the seaside towns which boast of a
promenade, beach, pier, etc.
474. Perhaps you belong to a class of photographic
enthusiasts who seek wilder scenery, or you are favored
with a gale or a stormy day during your visit. If this is the
case, make the most of your opportunity and catch the sea
when in its tempestuous mood.
475. If the coast is rocky and the sea dashes in on the
rocks, a safe position should be selected so that a drenching
can be avoided by an immediate retreat, and a most likely
setting for a picture selected. The incoming waves should
be watched very carefully and you will soon be able to
gauge where each will break. Compose the picture before-
hand and have the camera all ready for exposure at the next
inrush of sea. "When it appears, experience gained by watch-
ing will determine the moment for exposure, — say, when the
dashing spray is at its highest.
476. Lighting. — The position of the source of light is
an important factor in the success of seascapes. When sun-
mm
■JiiJ'
' JNDATIONS
Seascape Photography. 215
sets and strong cloud effects are desired, the water usually
plays a secondary part. Seascapes looking directly at the
sun are very rarely successful. In order that they may be
effective, waves, big or little, require just as much careful
lighting as any landscape or figure subject.
477. Background. — The question of background is of
much importance. By background we mean the general
tone of the sky that backs up the seascape. A very light or
blue clouded sky is usually unsatisfactory for seascapes.
The water is devoid of tone and the spray is invisible when
it rises above the skyline. During the springtime, however,
you will find that both heavy cloud forms and rugged seas
are to be seen anywhere along the coast, and a combination
of these should be secured, either together or separately, and
later combined in the finished print.
478. Exposures. — The light at the seaside from spring
until late autumn is extremely bright, and you must exer-
cise the greatest amount of care not to over-expose. Use the
fastest speed at which your shutter is capable of working,
unless you are employing a focal-plane shutter, or a shutter
that will render exposures less than 1-150 of a second. The
reason why seascapes require such a brief exposure — which
is fully one-half that required for landscapes — is because
much of the light coming from the sky is reflected by the
water, which acts as a mirror. In addition to this the air
is much more clear and pure, and the actinic quality of the
light is not impaired by smoke or fog that reduces the nor-
mal light of towns so considerably.
Part II.
PHOTOGRAPHING SEA BIRDS.
479. Especially during the late summer and fall, the
camera user with a love for nature and natural history will
find photographing sea birds a most fascinating branch of
photography. If you have never tried it, you can under-
216 Library of Practical Photograph]^.
stand nothing of the great amount of interest that is to be
found in this pursuit, to say nothing of the health-giving
and invigorating exercise which necessarily accompanies it.
480. In the first place, you will have to leave the sea-
shore resort for that section of the coast seldom frequented
by humanit}'. The lonely, but at the same time most inter-
esting, districts along the cliffs and rocky coasts are where
abounds your subject material, the birds.
481. Outfit for Photographing Sea Birds. — It is not
necessary to have special apparatus, although the telephoto
lens, electric shutter, and various other appliances will
come in very handy. The outfit possessed by the average
amateur will answer every purpose for securing fairly good
results. The first and most important item is to make your-
self acquainted with the habits of the birds. The time spent
in this study will not be wasted, nor will it be tiresome, even
if you devote an entire season to it and do not expose a
single plate. Make a point of ascertaining all you can about
each variety of bird, its habits, its mode of feeding, and
particularly the way and time it feeds its young. When
you have obtained this knowledge you will be in possession
of the most essential part of your equipment.
482. Careful stalking is another important item. Too
much care cannot be taken in approaching any wild bird,
more particularly those of a shy nature. As the bird's sense
of hearing is most acute, be very careful and make just as
little noise as possible. Don't smoke, don't hurry and above
all, don't show your head. If you are using a hand camera,
keep it, as much as possible, between your head and the bird.
483. Successful stalking is not always a very pleasant
occupation. It frequently necessitates a long, tedious
amount of crawling on the ground — snakelike — and many
times over extremely uneven surfaces, but a good picture
at from 6 to 12 feet compensates for the discomfort en-
tailed.
484. Tripod Camera. — When working with a view
camera it is well to keep the head under the focusing 3loth,
using the slit between the baseboard of the camera and
Seascape Photograph}). 217
ground-glass as a peep-hole. Care must be taken, however,
when approaching the flock of birds in this manner that the
tripod legs do not cause your downfall. It goes without
saying, that a stumble under such conditions is most fatal
to success, as it is almost sure to frighten a bird within 150
feet and perhaps endanger a whole day's work.
485. Practical Details.— A 4x5 camera, or even a
31/4 X 414 instrument, is of good size to use on a bird
stalking expedition, and the common, rapid rectilinear lens
stopped to F. 8 or F. 11, with the shutter working at about
l-25th of a second and the ordinary plate, will render good,
satisfactory results.
486. Exposure. — It is very essential that you give full
exposure, especially if the birds have some black about
them. The razor-bill, a dull or a sooty-black, requires some-
what excessive exposure to insure any detail. At the same
time the strong actinic power of light on the coast must not
be forgotten.
487. Focusing Cloth. — You will find a large home-
made focusing cloth to be of great advantage when stalking
birds; and especially so if you are using a tripod camera,
as it will protect you and the instrument from view, and
will give you an opportunity of gradually working up
toward your subjects without their being aware of your
approach. Before your subjects arrange themselves in just
the position you would like to have them, you might be
required to wait for some little time, so it is advisable to
be well protected from their sight.
488. The time of making exposures must be left, of
course, to the individual worker. It is necessary — in fact
each subject requires it — to exercise your own judgment in
all work of this class.
489. Practice Work. — Suppose you are ready to make
an exposure on a seascape subject. Aim to secure a typical
scene, including in the angle of view not only the sea and
sky, but have the picture space covered about one-third with
a part of the shore. Introduce into this scene a figure on
the left-hand side and a little below the center line of the
218 Library of Practical Photography.
picture space. For instance, have a little child, with pail
and spade, digging in the sand, blissfully unconscious of
your presence. The horizon line (the line formed by the
meeting of the sea and sky) should, in this case, be above
the center of the picture space, and the camera should be
placed not higher than 2 feet above the ground.
490. If possible, try to make the exposure at a time
when the sea is a trifle rough, and at the instant of exposure
have a white cap break into spray, so as to destroy the
straight line of the horizon. Remember that the required
exposure, providing the sun is shining, will be no greater
than 1-100 of a second, using a stop F. 16. Try to have the
sun on the left-hand side of the camera. Then the shadow,
which will be cast by the figure, will fall in a manner to
carry the eye from the object into the picture, when observ-
ing the finished print. If the sun shines from the right-hand
side, casting a shadow to the rear of your subject, the eye
would be led from the subject to the shadow, and from
there out of the picture. This would not only be against
the rules of composition, but would also greatly detract
from its value. Be sure that your subject faces toward the
center and not away from it.
491. When you have to your satisfaction arranged
your subject material, make an exposure of the scene ; then
select another view, carrying out some one of the ideas
suggested in Paragraph 466. Develop both negatives and
make a print from each experiment. Place your notations,
which will give you full information regarding the manner
in which you proceeded to secure the results, on the back
of prints, filing them in the proof file for future guidance.
CHAPTER XVII.
DIFFICULTIES— SEASCAPE PHOTOGRAPHY.
492. Flat Seascapes. — In making negatives of any subject, flat
effects are more or less due to over-exposure. In seascape photog-
raphy, however, the tendency to over-expose is far greater than in
ordinary landscape work. The amount of exposure required for
seascapes is practically the same as that for snow scenes. The air at
the seaside is clear and absolutely devoid of the smoke and dust so
prevalent inland, while the reflections and direct light from sea and
sky greatly increase the actinic quality of the rays of light that pass
through the lens and affect the sensitive plate.
493. Plate Fogging in Holders. — If plate holders are employed,
do not expose them unnecessarily to the direct rays of the sun, as
no loaded plate-holder is capable of withstanding prolonged exposure
to a summer sun without injury to the plates. It is always advisable
to cover the plate-holders and back of camera with the focusing
cloth when withdrawing the slide, and in every instance strive to
protect the plates as much as possible from direct rays of sunlight.
Care must also be exercised in replacing the slide in the holder; be
sure to place the whole edge in at the same time, not one corner first.
494. Objects Out of Focus Where Focusing Scale was Relied
Upon. — If the focusing scale is to be relied upon you must be able to
judge distances, or must approximately measure the distance between
the subject and the camera. If such distance is perhaps a little less
than 100 feet, all objects beyond being practically in universal focus,
the pointer can be set at the 100 ft. mark on the scale. As was men-
tioned in Paragraph 465, you should be sure that the focusing scale is
properly located on the camera bed. It is seldom this is not properly
placed, but if you desire to test it, focus on an object situated at 10
feet, then on an object at 25 feet, and also one at 50 feet. If the
pointer registers properly on the scale in each case, you may know
that the focusing scale is a correct guide to go by, providing you have
estimated or correctly measured the distance.
495. Seascapes a Failure from an Artistic Standpoint. — Should
the seascape be uninteresting and lacking in artistic quality, the cause
219
220 Library of Practical Photography.
will be found in the fact that you lack a thorough conception of what
is required. Or, you have proceeded to make the exposure with too
much haste and have not used proper judgment in selection of
subject material. There are possible occasions where you may secure
a view entirely at variance with what a painter would consider ideal
composition, yet as the view appeals to you individually and contains
exactly what you tried for, it may prove a most satisfactory picture
to yourself and others advanced in photography.
496. If you have carefully studied the preceding chapters of
this volume, you will be able to choose the proper subject material,
and also make the right selection of view-point. You must bear in
mind that in order to obtain an interesting, artistic picture, it is
requisite that you photograph subjects that possess something of
human interest. In Paragraphs 466 and 467 are given various
suggestions for subject material, which will be of value, and if you
carry out the ideas therein presented you should be able to secure
results considerably out of the ordinary.
497. Photographing Sea Birds. — Here there is danger of failure,
because you are dealing with subjects not easily handled. In the
first place, you must be a student of nature, and the more knowledge
obtained regarding the life and habits of sea birds, the greater will be
your reward. Greatest of care must be exercised in stalking, or
approaching subjects, for the least stumble or quick movement is
very likely to frighten the birds, and perhaps ruin your opportunity
for making an exposure that day. A large focusing cloth, as men-
tioned in Paragraph 487, is most valuable, not only to cover the
camera, but yourself. Under its protection you will be able to
carefully approach a flock of birds and secure an exposure without
great risk of frightening them.
CHAPTER XVIII.
NIGHT PHOTOGRAPHY.
498. A field of photographic work that but few-
amateurs enter, except for the hit or miss exposure, and one
in which great possibilities lie, is photography at night.
Although exposures at night have not as yet reached the
snap-shot stage, they are by no means lengthy, this being
due, of course, to the rapid strides made in the manufacture
of fast plates and lenses. What the future holds in store
for us as regards quick exposures depends largely upon the
skill of the lens maker and plate manufacturer. Many
photographic workers consider that night photography has
few pictorial possibilities, and to a certain extent this is
true. Of the thousands of subjects we have by day, perhaps
only one may be suitable at night. Then again, night work
does not permit of such variety of treatment as the artist is
able to produce in daylight. The lighting is so different,
highlights and shadows being much more difficult to handle.
As the slightest sign of faking is distinctly noticeable upon
the negative, it is not possible to remove this, or take out
that, and put something else in its place.
499. The aim in night pictures is a correctly exposed
and properly developed negative, with the shadows almost
clear glass with but a suggestion of detail and the highlights
of moderate strength but free from any pronounced hala-
tion. When printing from such a negative, whether bj^ con-
tact or by the enlarging process, you may subdue or alter
the print to conform with requirements. Although night
work may have but few pictorial possibilities, yet it has a
charm all its own. Photographing in a large city at night
you see what during the day was a busy, noisy street,
practically deserted. You find clumps of heavy dark shad-
221
222 Librar}) of Practical Photography.
ows emphasized here and there, where a street lamp throws
its reflections over the pavement.
500. If darkness wer6 absolute at night, then photog-
raphy, except flashlight, might be out of the question. At
no season of the year is there any time of night perfectly
dark from a photographic point of view. There is ever a
certain amount of actinic light energy, even in the open
country away from all apparent illumination, where there
is not the least suggestion of artificial light. Even on the
darkest of nights, when the eyes become accustomed to it,
absolute blackness cannot be felt. The fences and trees
by the roadside all stand out from the darkness of shadow to
the darkness of an inky sky and are discernable. Now, if
the eye can discern objects at night, it is obvious that the
lens and sensitive photographic plate will do so ; and, at the
same time, they will record many things that the eye could
not see. If objects are discernable in the open country at
night, how much more so must they be even on a very dark
night in a city, where lights from thousands of different
stores brighten up the darkness and are reflected back from
the sky, giving a diffused light and picking up the detail in
the shadows. Then, on a clear moonlight night, there is a
wealth of soft white light that is so highly actinic that even
in December it is easy to over-expose and secure a daylight
effect.
501. Night photography is dependent then upon the
amount of actinic light available at night, and this may be
only the 1-25,000 part of that obtainable at mid-day of an
open city view. In other words, the 25th of a second
with stop F. 11 will become 15 minutes with the same stop
at midnight. Yet the pictorial aspect of the work lies, not
in the direction of light, but in the proper handling of the
shadows. It is soft, mysterious, suggestive shadows, set off
by a little light here and there, that appeal to the imagina-
tion.
502. Lightning Flashes. — For photographing lightning
flashes at night, use a quick plate, with the camera set to uni-
versal focus, employing the largest stop. Point the camera in
Night Photograph}). 225
the direction of the prevailing flashes and uncap the lens
when you expect a flash is likely to occur. Forked lightning
only should be photographed. Sheet lightning only fogs the
plate. As soon as you are certain that a flash has been ob-
tained, cap the lens. For an example of a lightning flash, see
Illustration 45.
503. Illuminations. — The greatest diificulty in photo-
graphing illuminations is to find a place unobstructed by the
crowd. Illuminated buildings, such as one sees at exhibi-
tions, make excellent photographs; but there is too much
symmetry and over-abundance of design to make them really
pictorial. A common mistake in photographing illumina-
tions is over-exposure. Some little detail between the lights
is essential. One does not care to see simply row upon row
of fairy lamps with nothing in the view to support them.
Neither do you want to see these lamps with a large halo
surrounding them. Using a rapid plate and stop F, 11, an
exposure of not more than 3 minutes should be given
and if you are very close to the illumination half this time
is sufficient. Each lamp possesses very little actinic quality
and taken individually would have little effect upon the
photographic plate; but collectively they supply an abund-
ance of illumination.
504. Conflagrations. — When a person has the oppor-
tunity to photograph a large fire it should be grasped. A
quick plate with as large an aperture as possible, will allow
of an exposure being made in from 3 to 10 minutes, accord-
ing to the light, providing the stop be not smaller than F. 8.
The color of the illumination produced by the flame being
more of the orange or red, is less actinic than electric light.
Besides the actual conflagration itself, there are many little
bits here and there that may be secured, fire engines for
instance.
505. Iron Foundries, Store Fronts. — Unless worked in
conjunction with a flashlight, interiors of iron foundries and
blast furnaces are of very little value as subjects. So much
of the light is red or yellow, with more heat than actinic
rays, that, to obtain a good photograph, it is necessary to
226 Librar}) of Practical Photography.
use a flashlight arranged to allow the shadows to fall with
the furnace lights. To throw shadows in the same direction
as those cast by the molten metal, as it comes from the
furnace, will necessitate the placing of the flash to one side
of the furnace, but out of the range of the lens. Distant
views are not very interesting, but may be taken in much
the same way as ordinary street scenes. Large store fronts,
even if well lighted, cannot be said to make artistic pictures ;
but, looking at it from an advertising point of view, it is
surprising more firms do not have their window displays
photographed when fully lighted at night. With a rapid
plate and F. 16 stop, an exposure of from 5 to 10 minutes
will suffice. See paragraph No. 529, Page 237.
506. Naval Displays. — Photographing naval displays
at night is almost impossible if there is any considerable
amount of movement. Heavy seas, rapidly moving craft or
high winds completely prevent any chance of making an
exposure. For this class of work what is required is that
the vessels be anchored and fully illuminated during the
exposure. Using a stop F. 11 and a very fast plate, an
exposure of at least 10 minutes should be given.
507. Street Photography. — This is perhaps the most
fascinating form of night photography ; a street corner with
a little church steeple, or, perhaps, a statue sharply sil-
houetted against the sky, are good subjects. The exposure
will vary from half an hour for a close view with few lights
to 15 minutes for an open view, such as a large square, using
stop F. 11 and employing a rapid plate.
508. In wet weather the streets and other outdoor
places look their best. Lights, exceptionally clear and
bright, stand out of the darkness and cast reflections over
the pavements (See Illustration 46, "The Plaza"). Under
such conditions the exposure may be reduced to 1 minute, —
less than would otherwise be given if the streets were dry.
Some churches, when well lighted at night, present very
pretty pictures, especially if the stained glass windows are
well illuminated. This class of night subject is the only
one for which the use of rapid orthochromatic plates is
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Illustration No. 47
A Moonlight Effect
See Paragraph No. 512
THE V:
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TILDF-N Fl
Night Photography. 229
recommended. With a stop of F. 11, an exposure of 30 to
40 minutes should be given. In all other classes of night
photography the ordinary rapid plate will suffice, as it will
be found that instead of orthochromatic plates being quicker
at night they are, if anything, slower. Then, again, they
have to undergo such prolonged development that there is
every risk of either chemical fog or light fog taking place.
509. Railway Stations at Night. — A large railway
terminus offers ample scope for photographic work, but
great care has to be taken to avoid moving lights. Owing
to the close proximity of arc lamps, double-coated plates,
or backed plates, are an advantage. Exposures may be
very quick. With a rapid plate and an aperture of F. 8, a
fully exposed negative should be obtained in 2 minutes.
510. Ship and Harbor Scenes. — Shipping always lends
itself to pictorial treatment, and on a fine clear night very
good pictures may be obtained. Exposures are approx-
imately the same as for street work, i. e., with a rapid plate
well backed, a lens stopped to F. 11, 5 to 10 minutes' ex-
posure will be required.
511. Moonlight Effects. — With a very bright moon ex-
posures at night need not be lengthy. An open view, like a
large city square, may be taken in four or five minutes,
using stop F. 8 and a rapid plate. An open view in the
country, free from artificial lighting, would take from half
to three-quarters of an hour. There is no use attempting
work in the country at night, except by moonlight. A farm
building, a country road with clumps of trees, and perhaps a
little cottage set back from the road, or objects of this
kind, help to build up very pretty moonlight views.
512. Care must be exercised not to include the moon in
the view, as the result will be a long, elliptically-shaped mark
across the sky as a result of movement. Almost all night
photographs including a moon are faked. (See Illustration
47, "A Moonlight Effect.") The method of their pro-
duction is to snap-shot against the sun when the sun is
partly hidden by clouds, or the sun is very red, and de-
230 Library of Practical Photography.
velop the negative up thin. Certainly these faked night
pictures are very pretty, but they depend largely upon cloud
effects. A red sunset gives better moonlight effects on
account of its decreased actinic power. The artificial
sources of illumination which are sometimes put in with the
brush give a false and very feeble idea of light and shadow.
513. Photographing the Moon. — There is a way, how-
ever, to include a real moon in the photograph, by simply
making an exposure of the moon, capping the lens
and then waiting until the moon has moved higher and out
of the view, when the exposure can be continued. This is
perhaps the very best method of securing a moon in the
view, and it can be strengthened considerably by careful
local intensification and pencil work. Avoid over-exposure
in moonlight photography. There is a considerable amount
of latitude in night work in the country. You should never
give more than 30 minutes on a well lighted scene with
full moon, a rapid plate and the lens stopped to F. 11. If
you give double this exposure the result is apt to be a " day-
light" effect, no matter how carefully the plate is de-
veloped.
514. Panoramic Views. — Panoramic Views may be
taken on a single plate, making the photograph from a
great distance and then enlarging the horizon of the nega-
tive and trimming the rest away ; or, two or more plates may
be exposed, turning the camera on its center and joining the
prints together. But in this case it is preferable to be very
much nearer the subject to be photographed, otherwise the
scene will be so small that the whole picture will present a
mass of minute detail, only discernable with a powerful
magnifier.
515. Snow Scenes. — Either city or open country
abound in choice subjects for night photography after a
fall of snow, when everything is covered with a white
mantle. If the night is clear and the objects stand out
sharply owing to the reflected light from the snow, the illum-
ination is increased and the exposure, therefore, is cut down
approximately one-half. Under such circumstances it would
Night Photography. 231
be possible to make a fiilly lighted street scene, using a
rapid plate and F. 11 stop, in 5 to 10 minutes.
516. Apparatus for Night Photography. — No special
apparatus is required for night work but much can be said in
favor of a fixed focus camera, as it saves considerable
trouble in focusing. A full size finder is quite essential,
however; otherwise an undesirable light on the left or right
front that should be cut out will in all probability be left
in. Of the tripod cameras the best form is a square bellows
with an extensive rising front ; if a conical bellows be used it
must have loops on the sides or top to prevent the bellows
from sagging and cutting off the light. You should be able
to judge the amount of view included within the angle of
the lens. The focusing scale on the camera must, of course,
be accurate, and your judgment of the distance from the
camera to the subject should be approximately correct. If,
however, you wish to focus on the ground-glass you should
look for the strongest points of light. For instance, if there
is an electric light in the view occupying almost a central
position with reference to distance, focus on this sharply.
It is essential that you have a rigid tripod, for the duration
of the exposure is such that the camera must be perfectly
stationary, otherwise a slight breeze might cause sufficient
movement to give a blurred image, instead of one perfectly
sharp.
517. If a strong wind is blowing it will be almost
impossible to do anything, so if you cannot find a sheltered
position it will be wise to abandon the attempt to make a
night photograph until a better opportunity is presented.
Even on the most tranquil nights the tripod must be well set
and free from vibrations. It seems hardly necessary to
warn you to avoid making pictures from bridges where
there is danger of vibration through traffic.
518. Leveling the Camera With a Spirit Level.— When
photographing street scenes which include buildings, it is
very essential that the camera be perfectly level. ]\Iany
folding cameras are provided with a level, but a more con-
venient form is one which is not fastened to the instrument
232
Library of Practical Photography.
in a stationary manner. No matter what position the cam-
era may occupy, you should be able to place the level on it
Illustration No. 48
in a position where it can be constantly seen. There are
numerous levels on the market, such as the Ingento, and the
Taylor, Taylor & Hobson's Single Level (shown in Illus-
Ulustration No. 49
tration 48). It will be necessary to have a light of some
kind in order to see to properly level the camera, therefore,
Night Photograph}). 233
a short piece of candle should be a part of your equipment.
It is very important that the camera be leveled properly,
otherwise the picture will result in badly distorted build-
ings, telephone poles, lamp posts, etc.
519. The Lens Hood.— A lens hood is useful to shield
the lens from any light that may reflect from either side.
Although it may not come within the angle of view it is
likely to cause "flare" or "ghost" images through reflec-
tion in the lens. For this purpose prepare a small card-
board cone to fit over the lens barrel. It must be of
sufficient size to exclude all reflected light. For the average
lens a cone about 4 inches long and wide enough at the
mouth to keep outside the angle of view, is sufficient. See
Illustration No. 49.
520. Wet Weather. — When working in wet weather a
waterproof cover is necessary for the camera. Care must
also be taken to keep moisture off the front of the lens.
The lens may be wiped with a soft cloth kept for the pur-
pose.
521. The Lens. — Any lens may be employed for
making night pictures. In fact the ordinary rapid recti-
linear lens will answer every purpose and produce remark-
ably fine effects. The only advantage of a rapid lens is the
decreased amount of exposure, but whatever lens may be
employed the aperture best suited for work of this nature
is F. 11 or U. S. 8. Where objects in the view are situated at
considerable distance from each other it may be necessary
to stop down to F. 16 or even F. 32. There is much less
danger of halation if the lights which are included in the
view are focused sharply.
522. Making Exposure.— Where there is no necessity
of closing the lens during the exposure, to avoid moving
bright lights coming into the view and effecting the plate,
the ordinary shutter may be employed. When photograph-
ing street scenes, automobile, street car or bicycle lights
may suddenly enter in field of view. Where your camera
is not fitted with an automatic shutter, you should then
cover the lens with the cap, your hand, hat, or any
234 Library of Practical Photography.
other similar object. It is even possible to work without a
shutter at all, simply withdrawing the slide from the plate
holder and thus exposing the sensitive plate. Whenever
an objectionable object comes within the field of view the
slide of the holder may be placed in front of the lens until
the light has disappeared; then, you may proceed with the
exposure. When the so-called regular shutter is used, there
is danger of moving the camera when resetting the shutter.
Therefore, it is far better to work without a shutter than to
run chances of having your results spoiled by moving the
camera.
523. Plates for Night Photography. — The quicker the
plate the better, although any plate, fast or slow, may be
employed. It is advisable to use a double coated non-hala-
tion or backed plate. A slight amount of halation is really
necessary for pictorial purposes, except when enlarging is
resorted to, for then the halation magnifies with the enlarge-
ment.
Practice Work.
524. Selection of Point of View. — In choosing the point
of view there are certain things which should not be over-
looked. In the first place, the nearest and brightest light;
whether it is objectionable, and if so, how to avoid it. It
goes without saying that you should photograph street
scenes at a time in the evening when all of the stores are
illuminated. As the ordinary figures which move about on
the streets will not affect your working, it is advisable to
make exposures as early in the evening as possible, for then
you will be sure that all of the lights will be burning. Lights
from electric cars, automobiles, bicycles, and other forms of
similar traffic should be watched for, and whenever they
enter the field of view immediately cap the lens or place
some object in front of the lens, so that the bright lights will
not effect the sensitive plate. If these lights appear and the
lens is left open, the plate will be crossed by numerous
Night Photography. 235
black lines, which will look like scratches, or telegraph
wires.
525. Exposure. — Under each of the previous sub-head-
ings we have given approximate exposures for the various
subjects that you will be likely to deal with. Remember
that these exposures are only approximate, and a little lati-
tude on the side of over-exposure can be easily remedied in
the developing. If the sky be particularly dark there
is not so much risk of over-exposure. It is when il-
luminated by a full moon, or on summer nights when
the sky is distinctly blue, that you run the risk of over-
exposure. For daylight work there is an established rule,
''expose for the shadows and let the highlights take care of
themselves." This does not apply to night work, for if suf-
ficent exposure were given to fully time the shadows you
would produce a daylight effect. It is not desirable to
produce full detail in all portions of night pictures ; do not
attempt to secure any more detail than you can actually see.
526. Development. — Development must be carried on
in a very dilute and slow working developer. On no ac-
count should a plate be developed in strong developer. A
regular pyro-soda developer, diluted with water, such as
the Universal Developing Formula given in Volume II., will
give excellent results, while if a quick developing agent, such
as rodinal be used, dilution must be carried to the extreme
— 1 dram in 20 ounces of water. Be sure to keep the plates
covered during development, and thus protect them from
the ruby lamp, which, owing to the prolonged development,
is very likely to cause fog.
527. Make proof prints from each experiment, and
place your notations, which will give you full information
regarding the manner in which you proceeded to secure the
results, on the back of each, and file in your proof file for
future guidance.
CHAPTER XIX.
DIFFICULTIES— NIGHT PHOTOGRAPHY.
528. Lightning Flashes. — The greatest difficulty in securing
practically perfect negatives of a lightning flash will be found in
pointing the camera in the proper direction to have "'le flash appear
in correct position on the plate, and not too far to one side or the
other of the picture space. You will find that, as a general rule,
forked lightning flashes occur a number of times in practically the
same position in the heavens, and if you will watch one or two of
these flashes before uncapping the lens, you will have gained ap-
proximate knowledge of the proper position in which to point the
lens. Do not try to photograph sheet or heat lightning, as you will
only be wasting your plates.
529. Unsuccessful in Securing Window Displays. — At times it is
impossible to successfully photograph a store front or store window
by daylight, because reflections in the windows of objects on the op-
posite side of the street will practically obliterate goods displayed
in the window. Making photographs of window displays, by flash-
light, is an improvement over daylight, but the greatest success ia
attained when photographing a window illuminated with its own
source of light. Care should be taken that the lamps are shielded.
All modern stores have their windows surrounded by electric lights
concealed from view, at the same time concentrating the rays of light
on the goods displayed. If a night photograph is made under these
conditions, your resulting picture will be practically perfect, if you
expose long enough to give sufiicient detail in the shadows. Many
times there is no partition between the display window and the store
itself, and when this is the case be sure that all of the lights in the
store proper are turned out. They would produce ghostlike effects if
allowed to remain burning, as they would be out of focus and thus
entirely ruin the desired effects of the window display.
530. Difficulty in Photographing Tall Buildings. — The greatest
difficulty experienced in trying to photograph an illuminated build-
ing in crowded streets is the securing of a proper position from which
to make the exposure. If the building is quite tall and the street
is not sufficiently wide so that you may get back far enough to in-
clude all of the building on the plate, it will be advisable to get
above the level of the street. Especially is this true in large cities.
237
238 Library^ of Practical Photography.
If possible, go to the first or second story of some building opposite
the one you want to photograph. The height to which you ascend
will depend upon the height -of the buildings which are to be in-
cluded in your photograph. In photographing a six story building
you should ascend to the second story on the opposite side of the
street. It may be necessary for you to use a wide angle lens, in
order to secure all of the building and some of the street fore-
ground on the plate. This will depend entirely upon the distance be-
tween the camera and your subject.
531. Making Exposures While Objects are Continually Moving
Within the View. — Many believe it to be an absolute impossibility
to make time exposures when objects are moving within the space,
during the exposure; but where exposures exceed ten minutes, and if
the moving objects are not dressed in white or light flashy colors,
no harm will be done so long as the figures keep in constant motion.
If any light colored object remains in the angle of view for any
length of time, you should shield the lens until the object has moved;
then continue the exposure. Of course, in figuring up the total
amount of exposure you must make allowance for the time the lens
was covered. As we previously mentioned in Paragraph 522, you
must cover the lens whenever strong lights, such as automobile lamps,
bicycle lamps, etc., come within range.
532. Difficulty in Securing Moonlight Effects. — Typical moon-
light effects cannot be secured by including in the angle of view
the moon itself, when making exposures of any great duration. As
stated in the preceding chapter, an elliptically-shaped mark across the
sky will be the only result. It is possible, however, to make a quick
exposure of the moon and then wait until the moon has moved out of
the angle of view before proceeding to give the exposure for the re-
quired detail. In making moonlight effects on the water it is by all
means advisable to have the moon behind a cloud. The majority of
water moonlight effects are made by using the sun as the illuminant
instead of the moon, the sun being under a cloud either at sunrise or
sunset. A very quick exposure is made, thus catching the beautiful
reflections in the water.
533. Difficulty in Development. — The greatest of all difficulties
make themselves apparent when you proceed to develop the exposed
plates. If proper exposure has been given; if you are employing a
sufficiently weak or diluted developer, and if you possess a sufficient
amount of patience, you will be rewarded in the end by excellent
negatives. Be sure to always make a test print from each negative,
as frequently a negative which appears of little or no value will,
when printed, show far greater qualities than anticipated.
CHAPTER XX.
FLORAL PHOTOGRAPHY.
534. Nearly everyone is impelled at some point or other
in their photographic career, to make pictures of flowers.
You may begin making floral studies at the very first of the
year and continue until the end. At certain seasons the
variety of flowers obtainable is limited; yet a collection of
photographs representing flowers in season, during the vari-
ous twelve months of the year, will prove of inestimable
value.
535. A complete collection of flowers is, of course, quite
an impossibility. But, a very desirable thing to aim for is
making photographs of a representative collection of the
flowers, securing as many different families and classes as
possible. In addition to this, the various phases of the same
blossom, from the bud to the fully developed blossom and
fruit, are worthy of attention.
536. Decorative Value. — Wild flowers, in all their great
varieties, will appeal to many, but in photographing the
flowers you must not forget the highly decorative value of
the stems and leaves. Interesting studies may be made by
photographing the foliage alone at its different stages :
First, the twig, then the newly formed buds, the tinted
leaves, the flowers, and lastly, the flower-laden bough.
537. It will prove a most interesting study for the city
photographic w^orker to keep a small cutting in a glass of
water, making photographs of the continual changes. An
ordinary cutting will come out and grow for fully a month 's
time in this condition. See the Botanical Studies in Vol. IX.
538. To the beginner we might say in a general way,
use a dark background, and remember that color counts for
239
240 Library) of Practical Photography.
little or nothing in the resulting picture. The aim in work of
this kind should be to acquire technical skill. The artistic
qualities will then surely follow at the proper time. As soon
as a few pleasing prints have been made, you should prepare
an album for the insertion of your floral studies. Secure one
with interchangeable leaves, so that at any time additions
may be inserted in correct succession.
539. Camera. — Practically any camera will answer for
the making of flower studies ; the camera possessing modern
attachments, which permit of using the lens in various posi-
tions, is preferable. It is advisable, also, to have a camera,
the bellows of which is twice the focal length of the lens, as
with such an equipment it will be possible to reproduce
flower studies in actual size.
540. Lens. — The average rapid rectilinear lens will an-
swer every purpose in the photographing of flowers.
541. If the bellows of your camera is of sufficient
length, the pictorial effect and the perspective will be much
better rendered by employing either a long focus lens or the
single combination of the doublet (rectilinear or anastigmat
lens).
542. Use of Plates and Ray Filter. — The ordinary plate
will not render the best of results. It will not reproduce the
strong colors of your floral subjects correctly. Ortho-
chromatic plates are much better for this class of work,
because most flowers have some shades of yellow, and with
these color corrected plates all green and green-yellow foli-
age will receive a far better rendering. A ray filter has no
advantage except for deep orange and blue shades, as the
best color corrected plates are quite sensitive to yellow and
slightly repellent to blue. Therefore, the additional re-
straint which a color filter would exert would tend to over-
correction, even giving a bright canary color the same
density on the plate as pure white.
543. The Ray Filter. — The ray filter is quite essential
in photographing blue flowers, but it is not necessary to use
one of an extremely deep shade. Any ordinary light-colored
ray filter may be employed — one that will increase the ex-
£ !•:
'UBLIC
Floral Photography. 243
posure about four times. A glass cell filled with a 1 per
cent, solution of potassium bichromate will render very
satisfactory results. (See Page 101.)
544. Speed of Plate to Use. — For indoor work a
rapid plate is best, because when the relatively faint light is
considered in connection with the small stop, or diaphragm,
necessary to secure proper depth of focus, the exposure will
sometimes require minutes.
545. Backgrounds. — Backgrounds for use in photo-
graphing cut flowers need not be at all expensive. Excellent
results can be secured by having at your command several
pieces of cardboard 22 x 28 inches in size, or larger. These
cards should be of various colors, but you will find that the
mounting board, known as "carbon black," will answer for
most purposes. Be sure that the surface of the cardboard is
dull and not glossy,
546. Space Behind the Flowers. — If the flowers are to
be showm in a vase, and any of the table is visible in the
photograph, the point where the table and background join
will make a strongly marked line across the composition.
This, as can be seen on reference to any flower picture where
it is visible, is a mistake. It at once reveals the artificiality
of the whole arrangement, by making it quite clear that the
background, instead of being a mere suggestion, is purely
artificial. If the picture is to be a success, this must be
avoided in some manner. It will not do to carry one piece
of paper down the background and along the table in a
curve. The lighting will show the true nature of this at
once, and the effect will be as bad, or even worse, than the
other. The simplest plan is to have as great a width of table
behind the flowers as possible, and place the background
some distance beyond the table. By this means the table
will blend into the background, and being out of focus, no
harsh line will be visible. The perspective of the vase will
show — however much the table is foreshortened — that there
is a space behind the flowers, while the actual boundaries,
being quite out of focus, will be softened down.
547. The only precaution that need be taken is to have
244 Library of Practical Photography.
the background far enough away from the flowers to pre-
vent their shadows being in evidence. Shadows only reveal
the presence of the background, and its temporary and
artificial character, for by repeating the lines of the flowers
— with variations — they add considerably to the difficulties
of arrangement.
548. Special Background for Flowers. — Where it is in-
tended to make numerous flower studies, a special back-
ground of some nature should be provided. A simple ar-
rangement on the principle of a copying board may be con-
structed in the following manner: Take a piece of wood
not less than one inch thick, and cut it 10 inches wide and 20
inches long. This is to be used as the support. In the middle
of it, and running the longest way, nail a board, or boards,
which will give a background dimension of 20 x 20 inches.
If you are not able to secure a single board of this size, two
10 X 20 inch boards may be used. A one inch strip should
be nailed across the top, to bind them together and prevent
warping. Cover one side with black velvet, felt or flannel,
the other side with white cloth. Tack on the edge only, to
prevent the tack heads showing on the face of the board.
By using the dark side for light flowers, and the light side
for dark flowers, the necessary contrast will be secured.
Velvet or flannel is best, because it will absorb rather than
reflect light.
549. Avoiding Heavy Shadows. — Heavy shadows can
be avoided by exercising care in not placing the flowers too
near the background, nor using too strong a light. A white
diffusing curtain on the window, and a reflector of white or
gray material, will assist you in getting an even illumination.
Remember, though, that roundness and relief are secured
by employing a broad lighting; i. e., one where the rays of
light fall on the flowers from the front as well as side.
550. Lighting the Flowers. — The light should fall on
the flowers in exactly the same manner as on a person posed
for plain portrait lighting; i. e., you must not have all side
light, all top light, nor all front light. A mean between
Floral Photography. 245
these must be aimed at, so that the light will fall at an angle
of 45 degrees, and by employing a little reflected light most
excellent results will be secured.
551. Line of Beauty and Arrangement, — The first and
greatest qualification for the floral photographer is that he
must have a liking for flowers. It is necessary that he find
himself in sympathy with them, must feel the mute appeal
they make to his finer sensibilities, or he will get no real
beauty into flower photographs. The next qualification is
closely allied to the foregoing, and is a feeling for beauty of
arrangement, a recognition of the power of line and of the
due disposition of tones. It is this which makes flower pho-
tography a special branch which should appeal to women,
in whom these qualities predominate, though often uncon-
sciously trained and developed. The best possible photo-
graph of a badly arranged group of blossoms can only be a
failure, while graceful composition will go far to compen-
sate for poor photography.
552. Flowers the Subject, Not Vases. — One of the mis-
takes made by the beginner in flower photography is in the
selection of showy vases to hold the blossoms. In the ma-
jority of flower subjects made by leading photographic
artists who spend considerable time along this particular
line, you will observe that no vase or other vessel whatso-
ever is seen ; the flowers, and the flowers only, are the sub-
ject.
553. There is no real reason why a vase should not be
seen ; it may help the composition, and is valuable at least
for the indication it gives as to how the flowers are sup-
ported, explaining positions which otherwise might excite
the wonder of the observer, to the ruin of the pictorial effect.
But, if a vase is used it must be of the very simplest kind,
and on no account one which in its design or decoration
will compete with the flowers themselves, which are the true
subject of the picture.
554. A much more convenient method of handling this
class of work, and especially where flowers are to be pho-
246 Library of Practical Photography.
tographed singly, will be found in employing an arrange-
ment which will permit placing the flowers on the floor —
laying them on the material which is to be used as the back-
ground. The camera of course will have to be tilted at right
angles to its usual position, so as to take in its field of view
the complete arrangement of the flowers.
555. It is possible to obtain a special attachment from
photographic dealers, which may be placed on the top of
the tripod, permitting the tilting of the camera to any de-
sired angle.
556. Lighting the Flowers. — The material upon which
to lay your flower studies may be exactly the same as that
described in Paragraph 548, relating to the background on
the copying board,
557. There are times when heavy shadows will prove
of great assistance to you in securing pictorial effect. How-
ever, the shadows can be made as strong or as weak as you
desire to have them, by the judicious use of a white diffus-
ing curtain placed on the window (if you make the picture
indoors). A reflector of white or gray cloth thrown across
a chair back will also help you in obtaining an even illumina-
tion. The greatest amount of relief and roundness can be
secured only by having the source of light fall upon the flowers
from the front as zvell as the side. If you are doing this work
out of doors, you should work in the shade of some building
so that the direct rays of the sun will not fall upon either the
camera or the flowers.
558. The great advantage of arranging flowers on a
flat surface and pointing the camera downward is that you
are able to do away with tacks and strings and other
paraphernalia for supporting the flowers. You will also
be able to obtain any arrangement you desire, and you will
find that the flowers will remain in practically any position
in which they are placed.
559. If your exposures are made indoors, be careful
that the doors and windows are shut, thereby avoiding pos-
CHRYSANTHEMUMS
Study No. 32— See Page 314 By Dr. A. R. Benedict
Floral Photography. 249
sible draughts which might cause a slight movement of the
flowers. The best position for the flowers is about 4 to 5 feet
from the window, not on a line with the side of the window
but a little back of it, the camera being placed on the op-
posite side, and as near to the window as possible, A re-
flecting screen should be employed to illuminate the
shadows.
560. Diffusing the Light.— Many flower photographs
are failures on account of harsh lighting. Impressions of
flowers are gathered from them as seen in the midst of a
diffused and gentle light, not fixed within a few feet of the
window, exposed to what is essentially a harsh illumination
from a small source. Yet we must use the window in pho-
tography for the light to be controllable at all. Therefore,
endeavor to soften and diffuse the light coming through it
as much as necessary. To do this, one of the most effective
methods will be found explained in Paragraph 549. A piece
of cheesecloth will answer admirably for diffusing the light.
This may be pinned to the window, and raised or lowered
according to the effect you desire to secure.
561. Focusing. — In focusing take the utmost care to
get the foremost parts of the flowers perfectly sharp. It
may happen that parts in foreground shadows will escape
notice unless you give this particular attention, for no
matter if you do overlook them on the ground-glass they
will show plain enough in the print, and if not sharp will
spoil it. If there is any depth of focus, or, in other words,
sharpness, to spare, it should be in front rather than back
of the flowers, because the background being completely out
of focus will enhance the artistic effect. If a commercial
flower study is desired, then all of the flowers must be per-
fectly sharp. You focus, however, with the lens wide open,
on the foreground of the subject; then stop down until all
parts are as sharp as you desire them to be.
562. Exposures. — When working by a window facing
north, it being perfectly clear out-doors, the sun shining,
and you reproduce the flowers one-half actual size on the
fastest orthochromatic plate, using stop F. 11.3, or U. S. 8
250 Library of Practical Photograph}^.
and a raj^ filter which will increase the exposure five times,
it will be necessary to givfe an exposure of from 15 seconds
to 1 minute, all depending upon the character of the subject
— whether light or dark in color. Whatever the actual ex-
posure required it must be carefully executed, and long
enough to give detail in the deepest shadow.
563. The Proper Development of the plate is where
many flower photographers fail, and of course even the most
skillful will occasionally make mistakes. The developing
agent is of little importance, providing it does not fog the
plate. The Universal Developer given in Volume II. is ex-
cellent for this purpose.
564. Too much stress cannot be laid upon the stopping
of the development at exactly the right time — the time being
when the very highest lights have got their full printing value.
If developing is carried too far the highlights will become
clogged, for the delicate half-tones will get as dense as the
very highest points of light, and in the print will give hard,
chalky masses, which are anything but pleasing. If, for any
reason, development is carried too far, and the highlights
are blocked, the negative may be reduced by using Potassium
Ferri-eyanide Reducer, as described in Volume II.
565. If the first appearance of the image indicates that
the exposure is correct, it is not necessary to pay any at-
tention to the appearance of the shadows during develop-
ment. They will take care of themselves. The exposure is
what determines whether they will be right or not. If over
or under-exposed, treat the plate accordingly. (See Volume
II.)
566. Developing Backed Plates. — Before pouring the
developer on the plate, hold it under the water tap while
the back is rubbed with a brush to remove most of the back-
ing (if you have backed the plate according to the method
described in Paragraphs 171 to 178). If the plates have been
backed with paper, this should be removed previous to
placing the plate in the developer. After the backing has
been removed, return the plate to the developer and again
cover. From time to time examine the back of the plate.
Study No. 34
BLUE FLAG
By John M. Schreck
P\3BUe
roR. ^
Floral Photography. 253
After the highlights are distinctly visible there, the actual
extent to which the development is to be carried is deter-
mined by looking through the plate at the lamp.
567. Practice Work. — Study very carefully the pre-
ceding lesson and then take the simplest flower obtainable
and proceed to carry out the instruction. After developing
the negative make proof prints from each experiment.
Place your notations, giving full information regarding
the manner in which you proceeded to secure the results,
on the back, and file them in your proof file for future refer-
ence.
Ill— 13
CHAPTER XXI.
WILD FLOWERS.
568. There are few branches of picture-making more
fascinating, especially in the summer time when it is pos-
sible to work out of doors, than the photographing of wild
flowers where they grow. It is far more enjoyable than
reproducing cut flowers at home, as it takes the photo-
graphic enthusiast into the fresh air. On landscape tours
numerous opportunities for taking advantage of the instruc-
tion which follows will present themselves. It is absolutely
impossible to reproduce wild flowers at home. In the first
place, they wilt and wither before it is possible to reach
home with them, and in their wilted condition they produce
anything but a pleasing picture. In addition to this dif-
ficulty, to produce results true to nature you should pho-
tograph the flowers in the midst of their natural surround-
ings. Under these conditions only is it possible to obtain
the best of results.
569. Camera Bellows. — The bellows on the camera you
are to employ must be of considerable length. This class of
work cannot be treated as you would regular landscape pho-
tography. It is not the aim to secure a few dark specks on
the plate, surrounded by a mass of uninterpretable things.
The desire is to secure just the opposite of such result — a
picture of real flowers, leaves and grass. The bellows should
have an extension equal to twice the focal length of the lens,
and as a 6 inch lens is quite suitable, the bellows should
stretch at least 12 inches. In this manner images of equal
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256 Library of Practical Photograph}).
size to the flowers themselves may be secured, and in some
instances a trifle larger, Avhich is a great advantage.
570. Camera and Lens. — The camera should have a ris-
ing front and a reversible back. The shutter is not of much
consequence, as there will seldom be need to use it, expo-
sures generally being of several seconds' duration, making it
easily possible to make them by the use of the lens cap.
The ordinary rapid rectilinear lens of good definition which
will give you all around sharpness at F. 8 will answer every
purpose in photographing wild flowers.
571. Tripod, — It is almost impossible to use the or-
dinary tripod to secure this class of flower photographs.
The tripod should be of such a type as to admit of the cam-
era being lowered to within 12 inches of the ground. As it
is frequently necessary to tilt the camera at an angle, a
special tilting attachment will be found extremely handy
and convenient.
572. Tilting Attachment. — The convertible tripod at-
tachment mentioned in Paragraph 555 will be found verj'-
convenient in photographing wild flowers, as it permits of
the camera being tilted at any desired angle. Especially
when photographing flowers that lie flat on the ground you
will find the convertible tripod attachment, when placed at
a right angle, a very convenient accessory.
573. Avoiding Movement of Wild Flowers. — The great-
est of care must be exercised that the flowers do not move
during the exposure. If you are photographing but a few
flowers, and the view does not include any great amount of
space, it is possible to fasten a sheet of cloth or other ma-
terial, on two or three sticks which have been driven in the
ground, on the side of the flowers from which the wind is
blowing. Care must be taken, of course, that this "wind
shield" does not come within the angle of view.
574. In taking flower pictures in a natural state, it
will be necessary to study for some little time the point of
view, angle of view, as well as the principal flower — or
group of flowers — to be included in the picture. This work
Study No. 35
HEPATIC AS
By John. M. Schreck
HILLSIDE PATH
Study No. 36 — See Page 312
By Wm. T. Kxox
,jKAni!
Wild Flowers. 259
really requires more careful study and thought than land-
scape photography itself, if such a thing is possible; but
the principles of arrangement, the obtaining of point of
view, etc., are all absolutely the same as have been previously
taken up in relation to composition of landscape photog-
raphy. As each scene in a landscape requirCvV special treat-
ment, so does every subject in wild flower photography.
Orthochromatic plates and screens are a necessity in order
that true color value may be obtained. The information
already given upon this subject should be carefully read
again, if you are not familiar with the use of color corrected
materials.
CHAPTER XXII.
ANIMAL PHOTOGRAPHY.
575. Introduction.— There are few branches of pho-
tography affording more pleasure, yet requiring more pa-
tience, than the photographing of animals, whether domestic
pets, wild animals, blooded cattle or horses. To obtain satis-
factory results, the photographer of animals must have a
thorough knowledge of his subject. Especially is this true
when photographing wild animals, and in this latter case
you should be a naturalist in a practical, if not in a scientific
sense ; otherwise, you will be working totally in the dark.
576. There are but few general rules applying to the
photographing of all classes of animals, each particular
kind possessing peculiar points which must be brought into
prominence in order that satisfactory results be secured.
No matter whether photographing animals or persons, re-
member that it is essential to have the important features
predominate, keeping in subjection the uninteresting as well
as the weaker points.
577. Camera. — Although it is permissible to use almost
any instrument for the photographing of animals, yet if you
desire to make this subject a study you will find that a cam-
era of the reflex pattern is preferable. When this instru-
ment is fitted with a high grade anastigmat lens it is possi-
ble to make instantaneous exposures and secure photographs
of animals in most natural positions. The ability to watch
the subject up to the instant of exposure is another strong
feature in favor of the reflecting type of cameras. Natural-
ists, or those who wish to photograph Avild animals in their
native haunts, will find it necessary to use an extremely
long focus lens or one of the telephoto type, as with an equip-
261
262 Librar]) of Practical Photography.
ment of this kind it is possible to remain a considerable dis-
tance from the subject, iinoi)served.
578. Photographing Domestic Pets. — A cat or a dog is
to be found in almost any home, and either of these animals
will be excellent subjects with which to experiment. It is
advisable to have everything arranged properly before pos-
ing the subject.
579. Random methods cannot be employed in this
branch of the work. It is necessary that the greatest amount
of patience and kindness be employed. You must wait pa-
tiently until such a time as the animal places itself in the
desired position, and unless patience is combined with kind-
ness you are doomed to disappointment.
580. The average worker makes the mistake of having
the image too small. It is advisable to have the subject
from six to ten feet from the lens. At this distance, with
average light out-doors and using a stop not larger than F.
16, the exposure will be approximately 1-25 of a second.
Much will depend, however, upon the color of the subject.
A black dog, with a heavy coat of hair, will require fully
double the exposure of one light in color. If you are hold-
ing the camera, be very careful that you do not move it, for
although this exposure is rather short it requires a certain
amount of skill to avoid traces of movement showing,
581. "When photographing dogs it will be almost im-
possible to set your camera on a tripod, as this subject is
usually quite lively and will tax j^our patience to a consid-
erable degree.
582. Dogs having long coats of hair, like the collie,
should be photographed on a day when the wind does not
blow to any extent, as the hair will be blown about, making
it almost impossible to secure a good picture. A general
rule in photographing dogs is to have them face slightly to-
ward the camera. Do not take a straight, broad side view,
unless the proportions of the dog are such as to give a well
composed picture and show good lines throughout. This
rule holds good particularly with the heavier types of dogs,
such as the bull-dog. The hound, collie, and dogs of slight
Study No. 38
SWANS
By Harriet Lyman
FIGHTING IT OUT DOWN THE STRETCH
Study No. 39 By John M. Schrkcb
Animal Photograph}). 265
frame may be photographed from the side. It is necessary
to use judgment, of course, as each individual subject will
require somewhat different treatment.
583. The cat is an extremely easy subject to photo-
graph, if the picture is made at home in a familiar position.
Cats are not favorable to strangers at any time, less so when
placed before a camera. The cat may be photographed in-
doors or on the porch where there is good light. The back-
ground is a feature which must be taken into consideration,
and if possible a white one should be employed.
584. There is one thing in particular which will please
this subject. A cat likes to be warm and comfortable, and
if you place her on a piece of flannel it will be very seldom
that you will have any trouble to secure satisfactory results.
A sheet hung over a clothes-horse will answer as a back-
ground. The flannel on which the cat is laid may also be of
white. A cat photographed in this way against white comes
out in the picture more like a very clever drawing, for the
camera is an excellent draftsman if you will only utilize its
powers. If the cat is photographed on a cushion, chair, or
amid like surroundings, the accessories are made of equal
importance with the cat and all the beautiful lines are lost.
585. In photographing a cat you may find it necessary
to have an assistant to entertain the subject while you are
preparing to make the exposure. Do not make the cat too
playful, however, or she will move out of focus and give you
no end of trouble. Simply stroke her gently or play with
her with a bit of string. It is not advisable to offer food,
except as a last resort, as it will make the cat too eager and
you will then be unable to have her lie in the position you
desire.
586. The secret of success lies in your being patient.
The work should only be attempted when you have plenty
of time. It is better to get your subject onto a certain spot
and focus ; then insert the plate holder and wait for a good
pose.
587. In addition to the background just mentioned, we
266 Library of Practical Photography.
wish to impress upon you the importance of always having
backgrounds as simple as passible. Do not employ one that
will detract from the subject.
588. It is important that animals be photographed in
a good light, and nothing will surpass the outdoors on a
cloudy day, or a place protected from the direct rays of the
sun.
589. It is usually advisable to get everything ready
before placing the subject in front of the camera. For in-
stance, if it is necessary to have a small platform or a box
on which to place the subject, this should be arranged; then
place your hat or any similar object in the position which is
to be occupied by the subject. Focus sharply on this ; remove
it, and after inserting the plate-holder, setting the shutter
and withdrawing the slide in the holder, place the subject
in the position occupied by the hat. See that the platform
or support is perfectly solid for if it is at all movable it will
frighten the subject. As soon as the proper position is se-
cured the exposure may be made. By following this method
the subject will be perfectly fresh and calm, and when
placed on the platform or box in the same plane as the
article which was focused, it should be absolutely sharp.
590. In the case of the cat it is much better to allow
her to choose her own position. Pat her with the right hand,
and at the same time hold the bulb of the shutter in the left
ready for the first opportunity to make an exposure.
591. Prize dogs require all their strong points to be
shown in the photograph. They must be handled accord-
ing to their individual temperament ; therefore, it will be
necessary to have some one Avith the dog to give you special
instructions, if you do not know the important points of
the animal.
592. There are many other subjects to be found in and
around the home and especially so in the country, very
charming pictures may be made of young chickens, duck-
lings or goslings. Particularly fine opportunities present
themselves when photographing water fowls swimming, as
the reflection of light from the water affords a strong il-
Animal Photograph}). 267
lumination which helps greatly in the lighting. Chickens
feeding are good subjects for pictures.
593. The composition will be materially improved if a
little child is properly placed in the act of throwing grain
to the birds or fowls.
594. When individual birds are to be photographed,
great care must be exercised to see that the plumage lies
smooth and feathers are not out of place. Prize birds should
be photographed in the presence of their owners who know
their individual points of excellence and who will inform you
of them. When thus made acquainted with the predominat-
ing features of the bird, take great care to bring these points
forth into prominence.
595. It is very important that the background be plain
and not of such a nature as to detract from the appearance
of the bird. Especially is this true when photographing
prize birds, for it is a very easy matter, if a plain back-
ground is not employed, to have it detract from the special
points of the fowl.
596. The light must not be hard and eontrasty. It is far
better to work under a soft diffused source of illumination,
for this latter will give you an opportunity of securing de-
tail in all parts of the subject. It is hardly possible to make
the exposure indoors unless you have a very large window
by which to work. It is far better to work out of doors in
the shadow of the house, for under such circumstances
if the light is quite bright you will be able to give a very
short exposure.
597. Cattle. — The photographing of cattle and espe-
cially of blooded stock, necessitates a certain amount of
knowledge of the important points which should be brought
into prominence. Especially is this true when photograph-
ing milch cows. The point of view selected should be one
which will show the milk veins, udder and the hind quarters
of the animal in greater proportion than the head, or front
quarters. Care must be exercised that the cow stands in
proper position to show the whole of the udder. In order
to accomplish this the hind leg nearest the camera should
268 Librar}) of Practical Photography.
be farther to the rear than the one on the opposite side of
the cow. For instance, if you. are making a picture from the
right side, the cow should have taken a step forward with
the left hind foot. The camera should be held about 18
inches from the ground and pointed slightly upward, thus
calling particular attention to those features which are of
most vital importance to the dairyman.
598. Stock that is intended for market should be pho-
tographed to show the breadth between the shoulders and
the massiveness of the animal, therefore it is necessary to
choose a view-point more to the front of the subject.
599. Patience is required in this feature of photo-
graphic work, and although the majority of domestic cattle
are tame, their curiosity presents another difficulty and it
is at times hard to get far enough away from the subject.
Especially is this true when you are striving to photograph
one animal by itself.
600. It is not advisable to try to separate one cow from
the herd and keep her so separated until you have her pho-
tographed. It is better to have her placed in a small pas-
ture, or large pen by herself, and allow her to remain there
until she is somewhat accustomed to her surroundings and
has forgotten, to a certain extent at least, the fact that she
has been with other cattle.
601. The background is a feature which should receive
attention also. Have the background as plain as possible —
trees in the distance (out of focus) form a good background,
yet care must be exercised that there is not too much same-
ness between the background and your subject, for the cow
is the all important feature of the picture and must stand
out in contrast and relief from all other surroundings. The
place selected in which to photograph your subject should
be one well covered with grass, for plain ground or dirt
does not make an acceptable base upon which to pose cattle.
602. Large Heads. — The head of a calf or cow, face
front, makes one of the finest domestic animal pictures that
it is possible to secure, for such a portrait is always full of
Animal Photography. 269
natural expression. Your supply of plates as well as your
patience will be fully tested before you have secured a per-
fectly satisfactory result; but any pains you may take will
not only well repay you from the standpoint of having satis-
factorily mastered this subject, but its commercial value
will be no small item. Pictures of this class find ready sale.
603. Horses. — One of the most difficult of the domestic
animals to photograph is the horse. It is comparatively
easy, of course, if it is in harness or held by means of a
halter, but to photograph the animal free from all such re-
straint is an entirely different proposition. The good points
of the horse may be shown by photographing it when held
by a halter. It is also possible to paint and retouch the
halter out after the negative has been made, but it requires
careful work to accomplish the best results.
604. The most successful method of photographing a
horse is to place it on a slight incline so that the fore feet
are a trifle higher than the hind feet. In this position the
head is thrown up and by making a slight noise the animal
will prick up its ears and at this moment you should make
the exposure. Always make the animal look alive in the
picture. The ears must never point backward, always for-
ward. Do not have the horse standing with its head drooped
and looking as if it never intended to move. When the
horse is in harness it should be posed on level ground, or a
very slight incline. To make horses look lively, a hat may be
tossed up in front of them and at the moment they look up,
the exposure should be made.
605. Horses in Action. — To photograph running horses
a lens of excellent speed, also a shutter capable of giving
from 1-lOOOth to l-300th part of a second is required. It is
impossible for the human eye to follow the complex move-
ment of the animal's feet, therefore proper judgment can-
not be made as to whether or not the image of the feet and
legs secured on the plate are technically and artistically
correct. A number of attempts should be made in order to
have a number of positions from which to make a selection.
270 Library^ of Practical Photography.
Pictures of running horses should be made with the camera
held very near the ground, for this is the only position in
which it is possible to secure the proper view of the feet.
To make pictures of jumping horses, the same method is
employed. The height of a jump may be somewhat exag-
gerated by placing the camera near the ground. For ex-
treme cases an excavation may be made in the ground for
this purpose and pictures made from there increase the
actual height of the hurdles and make a small jump look
very remarkable.
606. Do not be surprised if, upon development of the
negative, your animal lacks a tail, leg or even the head.
After a few experiments you will be able to judge correctly
the exact moment for releasing the shutter and secure the
subject on the plate with proper spacing and margin. If
you are using a hand camera, be sure to start releasing the
shutter before the horse's head has reached the center of
the plate. However, if you are using a reflex tj'pe of cam-
era, it is possible to release the shutter just a fraction of a
second before the animal is in proper position on the ground-
glass.
607. If the horse is to be pictured at work, select the
point of view past which he will come, being extremely
careful that the camera is so placed to secure a part front
and part side view.
608. Animals in Landscape Photographs. — When mak-
ing pictures of pastoral subjects, cattle, horses and sheep
often prove useful, either as providing a chief motive, or
for carrying on spots of light to break up an uninteresting
space. Although they might be amiable to control, yet they
are just as easily frightened and especially is this true of
sheep. When once unrest seizes them, attempts at picture
making may as well be abandoned for a time.
609. Some animals appear to be indifferent to strangers
so long as they are not required to move, whereas others are
wild and shy and require most careful stalking if any de-
gree of pictorial success is to be achieved.
Animal Photography. 271
610. Successful animal pictures are most readily ob-
tained when using some form of hand camera. This allows
the flock or herd to be followed from place to place and at
any moment when a group is seen to be satisfactory, an
exposure may be made, by simply pressing the spring re-
lease or bulb, and so securing a picture full of life and action.
Of course, the reflex type of camera cannot be surpassed for
this class of work, and as it shows a full size picture, just as
it will be finally reproduced, right up to the very instant of
releasing the shutter — exposing either plate or film, as the
ease may be — you get in the negative exactly what you in-
tended to have reproduced.
611. Another reason why a camera without a cumber-
some tripod is so much better in this class of photographic
work, arises from the fact that one is able to walk
among sheep or cattle without attracting undue attention.
The strange looking tripod, which has to be erected before
the photograph can be taken, increases the curiosity of the
subjects and also tends to frighten them. Especially is this
ill-efilect likely to present itself when delay or uncertainty
in finding the correct point of view is experienced. When
a change of position is necessitated by the sheep, or other
animals moving from one place to another, the camera and
its tripod have also to be moved, hence it becomes a disturb-
ing element and animals are likely to become suspicious and
suddenly race off to some other part of the field.
612. Exposure. — In the photographing of animals it is
very important, no matter w^hat is your subject, that full
exposure be given. It is far better to have too much than
too little, because if there is a tendency toward under-ex-
posure there will be little or no detail in the shadows. Of
course, when photographing moving objects it will be neces-
sary to give a very short exposure, but always give just as
much exposure as possible and you avoid any chance of
movement. l-5th to l-25th of a second is approximately
correct for average light when using stop F. 11.
613. Development. — Having given full exposure to the
plate, secure all possible detail and commence development
272 Library^ of Practical Photography.
with the ordinary developer diluted one-half with water.
With this the negative is slow in gaining density, while
detail still continues to come up in the shadow parts and a
softer and more delicate negative is the result. If the plate
develops quite flat, place it in a normal strength developer
and continue until fully developed. It is quite a common
error to develop negatives of animals with too strong a
developer, which gives chalky results. If such a negative
is to be enlarged, the enlargement would be very unsatis-
factory^ under such conditions.
614. If you know the negative to be under-exposed
treat it as an under-exposure and follow the directions given
in Vol. II for manipulating under-exposed negatives. Tank
development is one of the best methods to employ when de-
veloping negatives of animals, as it secures the best possible
results from the exposure.
615. Practice Work. — In order to become proficient in
the photographing of animals, you should proceed to photo-
graph different subjects, following carefully the directions
which have been given. Remember that it requires a con-
siderable amount of patience to secure a perfect negative
of the majority of animals and you must try to work as
quickly, yet with as little apparent haste as possible. You
should have everything in readiness, the camera arranged
and the lens focused on the spot that the subject is to
occupy, if it is a cat, dog or similar subject, before placing
the subject in position. Then when all is in readiness it
may be placed in position and the exposure made as soon
as the proper position has been secured. Remember to give
consideration to the background, for this feature may en-
tirely ruin or it may add greatly to your final results. The
plainer and simpler the background the better. It must not
detract from the subject.
616. In photographing larger animals you will find it
advisable to use the camera without the tripod, for the
tripod will usually give considerable trouble as it will be
necessary to follow your subjects in order to secure
the best view of them. Then, too, any additional para-
Animal Photograph};. 273
phernalia is liable to frighten your subject. "When holding
the camera in your hand you should not give more than
1-25 second of an exposure and even then the instrument
must be held rigidly or there will be danger of getting
a double or blurred image through movement. For your
first work it is not advisable to make more than two or
three exposures before developing them. After a little
practice, however, you will be able to correctly ascertain
the correct exposure and you should experience no difficulty
in securing excellent results. Each negative that you make
should be proofed and full information written on the back
of each proof for future reference.
Ill — 14
CHAPTER XXIII.
Natural History Photography — Birds, Insects,
Animals, Etc.
617. Photographing Wild Life. — At all seasons of the
year there is an opportunity for securing excellent records
of both birds and animals in their native wild state. This
class of photograph^'- is intended more especially for those
who love the outdoor work that will lead them to the native
haunts where the most successful results are to be secured.
A knowledge of the woods and a desire to learn more of
wild life together with a great supply of patience are the
essential qualifications for the successful photographing of
nature.
618. Special Apparatus. — Although it is possible to
secure photographs of certain classes of animals, and even
birds, with an ordinary hand camera, for the best of results
a camera with extremely long bellows and an extra long
focus lens, or better still a telephoto lens, should be used.
If you wish to employ the ordinary hand camera and if the
bellows extension is twice as long as the focal length of
your lens, you may remove the front combination (if the
lens is a doublet) as the single cell will give an image twice
the size of that produced by a lens in its full combination.
619. A dark green focusing cloth and a number of feet
of extra tubing, to release the shutter from a distance, will
be very convenient. In addition to these it is desirable to
have a very short tripod, making it possible to set the
camera as low as 18 inches from the ground. A pair of
climbing irons such as a telegraph lineman uses will ma-
terially assist in the climbing of smooth trees. If your
camera is not provided with a carrying case and shoulder
275
276 Library of Practical Photograph}).
strap, you should provide yourself with a stout cord with
which to pull your camera up after you when climbing.
620. A large pocket mirror will be of great service in
reflecting light into dark places, especially when photo-
graphing birds' nests, etc. A pocket mirror will also be serv-
iceable when working in confined places, enabling you to
read the shutter and diaphragm markings from the rear.
621. It is very interesting to make a series of studies
of animal life, and especially in the spring of the year when
the buds and leaves begin to spring out, you should avail
yourself of the ever changing phases of country life before
it is too late to secure some of the scenes which it might be
desired to record.
622. Ordinary nest studies may be taken with almost
any camera, but it is when you wish to portray living,
moving objects that difficulties present themselves. Quick-
ness is extremely important. Where the landscape photog-
rapher takes minutes to compose his picture, the naturalist
sometimes has to work in as many seconds. If you wiU
really look for subject material you will be surprised to find
the great abundance of suitable studies in bird and animal
life. Unless the birds are photographed early in the season
it will be almost impossible to secure studies of nests and
eggs.
623. Early in the spring it is often possible to photo-
graph young animals, such as rabbits, but after they are a
few weeks old they will learn to detect the approach of
man and will be safely concealed by the time you have come
within range of them. Many times it will be possible, how-
ever, to set up your camera and focus it on a spot where
your subject is likely to appear — a hole in the ground, in a
tree or other similar places frequented by the subject. The
camera should be protected from view of the animal as
much as possible, and then, having attached your long rub-
ber tubing to the shutter, you may retire some distance away
and wait for your subject to appear. This method will be
found one of the most satisfactory for securing animal or
even bird studies with an ordinary hand camera. Where
Study No. 40
\(JLXG WILD FOXES
FAMILY OF FLICXFTIS
CHIPPING SPARROW AND KING BIRDS
BLUE BIRDS
By John M. Schreck
iOH5
Natural History Photography — Birds, Etc. 279
the telephoto lens is employed, it will be possible to remain
at considerable distance from your subject and secure fully
as good results with much less trouble than when you do
not use this optical attachment.
624. Young birds in the nest waiting for food to be
brought to them by the mother bird, form excellent subjects,
and many times by placing your camera near enough to the
nest to secure a good sized image and then moving back and
keeping well out of sight, you may secure a picture of the
mother bird feeding her young. Attempts should be made
to secure several records, as this is one of the most beautiful
sights possible to secure in this class of work.
625. There is a great demand by magazines for ac-
curate records of wild life, but it is very important that you
make a special note of the date and also keep a systematic
^record of the series of pictures which you make. Begin
with the nest and eggs, showing the surroundings, then
make a near view of the nest so that the eggs may be plainly
visible. After having waited ten days, or perhaps two
weeks from the time the first egg was laid, set up your
camera again, concealing it as much as circumstances will
allow, and picture the mother bird covering the eggs. Later
you may take the brood as they are first hatched and again
when they have developed to such proportions that they
overlap the edges of their home. At this stage, the fact of
your having so frequently visited the nest will help you to
obtain a record of the parents feeding their young. Cir-
cumstances might offer further suggestions and enable you
to further complete the series by other very charming views
in and around the nest.
626. Rabbits are usually easy to photograph in and
around corn shocks. On warm afternoons squirrels will be
seen running busily to and fro, collecting nuts, barks, etc.,
and a successful photograph of these creatures will Avell re-
pay a great amount of patience. All animals, of course, may
be taken into captivity, but it is far better, more interesting,
and infinitely greater satisfaction is derived, to secure even
one good negative of wild animal life.
280 Library of Practical Photography.
627. Although indiscriminate photographing of nests
and eggs of the young of different types of bird, insect or
animal life is to be encouraged, yet a careful, well-kept
record of the life story of one particular species is an
infinitely more valuable product of your skill,
628. Insects. — The photographing of insects, butter-
flies, etc., is a very interesting study. Especially in the
spring and early summer is it possible to find the wayside
and ponds teeming with living creatures— butterflies, snakes,
frogs, toads, lizards, caterpillars and many other of similar
species that are well worth photographing.
629. There are two ways of making picture records of
these classes of subjects : First, to make the exposures of
the animals just as they are found; second, to carry the sub-
jects home. As the first method is beset with many disad-
vantages, the latter will be found the most successful.
630. Insects and butterflies should be handled with
extreme care to prevent injurj^ Caterpillars and beetles
may be carried in small boxes, while paper bags are more
handy for frogs, toads, snakes, etc. For water insects a set
of small bottles will be required. It is not advisable to
place various species together as they will often eat one
another. Each variety should be retained in a separate
receptacle.
631. Individual ingenuity should be employed to work
up the accessories forming the background and surround-
ings and let it be your aim to secure in the picture as natural
an effect as possible.
632. An interesting series of negatives may be secured
with a caterpillar, photographing it and then keeping it in
a box large enough to contain a small branch upon which it
may spin its cocoon. As a caterpillar changes its coat be-
fore spinning its cocoon, you should watch carefully and
photograph it if the change is sufficiently great to warrant
it. "When the cocoon has been spun, make a photograph of
it, then keep the box tightly closed until after the butterfly
makes its exit from the cocoon, when it, too, may be photo-
graphed.
Natural History Photography — Birds, Etc. 281
633. To secure records of the changes that occur in
the appearance of caterpillars, it is necessary to care for
them through their progressive stages of growth and pho-
tograph them at intervals. When they are not eating they
remain quite still on the leaf or twig, which affords splendid
opportunities to photograph them.
634. When fish and aquatic life are to be photo-
graphed, a small aquarium is necessary. Subjects like
snakes and lizards should be arranged on the farther edge of
a table with their heads pointing towards the center. When
released they usually move in the direction they are headed
and cross the table within the range of the lens. A slight
buzzing noise will generally attract and stop the larger
species, while a sharp, loud tapping has a similar effect on
the smaller ones. Sometimes it will be necessary to put the
hand close in front of the creature to arrest its motion when
other plans have failed.
635. Exposure. — The amount of exposure, of course, is
that which is sufficient to give detail to all parts of your
subject. The lens must be stopped to an opening just small
enough to give sharp definition to all parts of the object. Do
not, however, attempt to get the background sharp as this
will, in the majority of cases, not only be objectionable, but
undesirable. Care must also be taken with reference to the
background. It should not be spotted as is many times the
case when the light comes through between the leaves and
branches. At all times, the plainer and simpler the back-
ground, the better. When making studies at home of the
smaller animal life, the background should be constructed
so as to give the appearance of the natural surroundings of
the object, yet this, too, must be very plain and not detract
from the subject. Always aim to give sufficient exposure,
even if it is necessary to slightly over-expose, as it is far
easier to secure satisfactory results if you have a good
strong image on the plate than if it lacks detail in the
shadow portions.
636. Practice Work. — For your first experiments it
will not be necessary for you to go into the woods, as you
282 Library) of Practical Photography.
may photograph a hen standing beside her nest. Another
photograph may be secured when the little chicks make
their appearance, breaking out of their first home — the egg.
From the time they are a week old until you have the young
feathered chicken of three months, several interesting rec-
ords may be made. After a little experience with this
subject, it will be possible for j^ou to proceed to photograph
the wild birds and animals in the woods. One method
which will give very satisfactory results is to place the cam-
era in position, perhaps to an adjacent tree, and by using
nuts or other tempting food, bait your subject to the spot you
have focused upon and then make the exposure. Of course,
it will be necessary to use either a long rubber tube or a
string to work the shutter, and to stand at some little dis-
tance from your instrument, which latter should be protected
as much as possible from the view of your subject. The best
of results will only be secured by having more or less of a
knowledge of the class of subjects you are to photograph,
their habits, individual peculiarities, etc. When making a
series of records of the life of an animal, bird or insect, you
should provide yourself with an album having interchange-
able leaves so that the prints may be inserted at any time.
637. Make a memorandum of the methods employed to
secure the photograph and also make a note of all important
points connected with the subject shown in that particular
print. Further than this, it will be advisable for you to
make proof prints as soon as each negative is developed and
place all data on the back of the proof, filing it in your proof
file. This latter procedure is quite important for you might
neglect to make a print and place it in your album until you
have forgotten the important points which may be of vital
importance regarding the subject photographed.
Study No. 42
YOUNG KING BIRDS
NEST AND EGGS, KING BIRD
MOTHER KING BIRD
By John ISI. Schreck
A DULL OCTOBER DAY
Study No. 43 — See Page 310 Bv John Chislett
u
CHAPTER XXIV.
FUZZY PHOTOGRAPHY.
638. A definition is hardly necessary, as the word ex-
plains itself. How often you have seen, or made by ac-
cident, a beautiful sketch of woodland, water, or sky scenery
not at all like the ordinary conception of a photograph, but
having that soft, distinct atmospheric effect rarely obtained
except by masters of the brush or pencil. To see is to ad-
mire such pictures, but where and how to obtain such effects
with the camera is a question often asked by photographers,
both amateur and professional,
639. The above class of pictures are generallj^ made
contrary to photographic rules. They are usually produced
at times and in weather in which the ordinary photographer
would not think of making an exposure. A few points on
how and why such pictures are produced will be of benefit
to those wishing to make these with certainty of pleasing
and artistic results.
640. Any dark, rainy or foggy day is best for fuzzy
effects. A scene which would not give a good picture on a
bright day may serve to give excellent fuzzy effects on a
dull, hazy day. You will find scenes to answer this purpose
near at hand, many of which you passed by at other times.
641. On bright days you will find early morning or late
afternoon the most favorable times of day, as the sun is
then weak and hazy, and being low, throws a long shadow
so effective in such pictures.
642. One of the first essentials is to obtain a softly
diffused (not too sharp) focus, except, perhaps, on some
prominent object you wish to emphasize in the picture, and
even this must not be too wiry in comparison with the bal-
ance of the picture.
643. For this class of work a lens of very flat field,
286
286 Librar}) of Practical Photography.
such as a Goerz or Collinear, is preferable, yet very good
effects can be produced with any rectilinear lens, or even a
single combination. What you want is flatness of field with
not too much depth. The latter can be overcome in a very
deeply focused lens by giving the front combination of the
lens a half or quarter turn, which will softly diffuse the
focus throughout the whole picture and aid in giving the
true atmospheric effect.
644. Now having chosen your view, select the feature
or object you wish to appear most prominent in the picture,
and in setting up your camera and focusing, see that this is
well in the foreground, as this must be the sharpest part of
your picture. If in the background, objects in front of it
would be rendered shapeless and blurry, while if you focus
well in the foreground the distance will blend off beautifully
with the sky and atmosphere, giving just the effect de-
sired.
645. Choose a view-point with the sun well in front
and a little to one side, as you thus obtain the shadow effect.
Set your lens wide open and with your head under the
focusing cloth, and ground-glass well protected from all
outside light, push in or draw out the lens, and as you do so
you will notice the sky line or background comes into focus
first. As the bellows is extended the foreground comes into
focus and the background loses in detail. When you have
the object you choose to emphasize in the foreground, in soft
focus, you will notice the whole scene blends back to no
detail at the sky line. The entire outline is soft, clear and
sufficiently distinct that any object of importance to the
general scene can be distinguished.
646. It will not do to have the middle ground in sharp
focus, as in such a case the rear would be out and the fore-
ground an indistinct blur. Have the sharpest part in the
foreground. It will not do to use too small a stop. Usually
the open lens will give sufficient detail and sharpness.
647. These fuzzy negatives must be fully timed, as
under-timing produces contrast, which is just what we want
to avoid. Working from the shadow side will also increase
Fuzz]) Photograph}). 287
the exposure. Usually one-fourth to a full second will be
sufficient, according to time of day and strength of light,
and if in doubt rather give too much than too little time, as
it is more easily corrected in development. Softness is what
you want.
648. Develop in the normal Universal Pyro developer
(formula for which is given in Volume II), unless the plate
is very much over-timed, when it should be transferred to a
tray of old developer, but never develop for contrast, as
flatness is one of the essentials of fuzzy photographs.
649. Use Platinum or Velox paper, print to a good
depth, and you will have a perfect blending of color from a
deep black to beautiful gray in the middle tones and soft
transparent whites, producing that beautiful half-tone effect
so much desired.
650. In choosing these views avoid prominent or mas-
sive architecture. Flat scenes are the best, and out in the
open country you will find them, along the hedges, or old
rustic places with perhaps a church spire in the distance, or
even an old barn or farm cottage. Very little life must be
shown, and that in a suggestive way only. See studies of
fuzzy pictures in this volume.
651. Moonlight Effects.— Moonlight effects are best
rendered from negatives made in broad daylight. You will
need your ordinary camera and lens, a very rapid shutter,
and a few non-halation plates. A ray filter is often very
useful. Remember, in using these filters or screens, con-
siderably more time must be given, as the yellow color in the
screen slows the light.
652. Desirable cloud and shadow effects can be ob-
tained without the filter by careful exposure and develop-
ment. We advise non-halation plates, as with the camera
facing the sun, fogging from over-exposure is less likely to
occur.
653. Choose a water scene by seashore, lake, or stream,
as the sun's reflection, glint and delicate eatchlights on the
water add much to the picture.
654. Again, early morning or evening is best, as the
288 Library of Practical Photography.
sun is low and directly facing you at this time. An ap-
proaching thunder-storm oilers a splendid opportunity, as
does a sky covered with bright fleecy clouds. For an example
of moonlight effects see Illustration No. 47, page 228.
655. Having adjusted the view on the ground-glass,
focus on the clouds and do not stop down too much, as a fore-
ground too sharp tends to spoil the night effect. Wait until
the sun begins to disappear behind a cloud or mountain,
then expose very rapidly, say 1-100 of a second. With a
slow shutter working at perhaps 1-25 of a second you may
stop down a little more so not to over-time, as too much time
will ruin the detail in sky, and a negative slightly under-
timed will give best results.
656. When developing, if you have followed instruc-
tions, you will know the plate is under-timed and can de-
velop it accordingly. Do not weaken the developer too
much by the addition of water, for while your developer
must be weak do not over-do it, else you will produce a flat
plate, which would be of no use for this purpose. Rather,
if necessary, use a drop or two of bromide to hold the detail
in the sky and prevent fogging.
657. This can best be done by using a tuft of cotton,
saturated in a weak solution of bromide. This should be ap-
plied only to the dark clouds in the sky, or the foreground
of the plate, and such other portions as may develop too flat
or dense or with too much detail.
658. The use of bromide on an under-timed exposure
would be contrary to the usual rule in developing, but in
this case little or no detail is wanted in the shadows, else the
results would be the same as an ordinary under-timed day-
light exposure. Hence the use of bromide to add to the
night effect, by securing detail in the sky and clouds and
obliterating it in the foreground, which is in deep shadow
except for the light glints on the water.
659. Additional Methods for Securing Fuzzy Pictures.
— If it is desired to secure an even diffusion throughout the
entire picture space, from negatives which are perfectly
sharp, a sheet of clear celluloid or cellulose and transparent
TIIK ROAD IN TIIK SAND
Study No. 45 — See Page 309 By Geo. II. Scheek, M. D.
,:^\j^i-.
ASTOR, L
] TILDE N ' -
Fuzz^ Photography. 291
tissue paper, should be interposed between the negative and
printing paper. The tissue paper should be in contact or
next to the film of the negative, between it and the printing
paper. The use of the tissue paper necessarily increases the
amount of exposure that will have to be given the sensitive
paper, and this must be reckoned with especially when print-
ing on developing papers.
660. "When the enlarging process is resorted to, the
image should be thrown onto the screen, and after securing
perfectly sharp focus move the lens a trifle nearer the nega-
tive, and thus obtain diffusion. Enlarging through bolting
cloth will also give practically any degree of diffusion, all
depending upon the distance the bolting cloth is placed from
the bromide paper.
661. If it is desired to secure this diffusion in the
original negative, the most artistic and true-to-nature effects
will be obtained by sharply focusing upon the immediate
foreground and making the exposure with the lens wide
oj)en. Prints from such negatives should be made on rough
paper.
662. Caution. — Bear in mind negatives for fuzzy prints
should be slightly over-exposed and developed for flatness
rather than contrast. Start these in normal developer, and
if they are well timed and show a tendency to fog or
go a little flat, transfer to a tray of old developer.
663. You will rarely need to use bromide for such
negatives, but if they are much over-timed a few drops may
be added to your tray of old developer.
664. Carry these over-timed negatives to a good
strength, even to over-developing, as the development of no
plate should be stopped until the plate shows contrast suf-
ficient to produce the quality of print you have in view.
665. If, after fixing, you find your plate too thick and
dense, reduce with persulphate of ammonia, which, as it acts
upon the highlights principally, will not increase the con-
trast of your plate, but slightly soften it. As softness is one
chief essential for fuzzy pictures always use persulphate in
reducing such plates, following instructions on Reducing in
Volume II.
CHAPTER XXV.
PIN-HOLE PHOTOGRAPHY.
666. That a high-grade lens is a great addition to any
photographic worker's outfit is beyond question. It is not
the purpose of this chapter to discourage anyone's ambition
to some day become the proud owner of an ''anastigmat."
It is possible, however, to make photographs of unques-
tionable quality without employing a lens at all; and with
but three exceptions, produce negatives equal to those se-
cured with an optical instrument.
667. The pin-hole, as a substitute for the lens, pos-
sesses the undoubted merit of cheapness. For experiments
it is possible to stretch a piece of black paper, from a spool
of roll film, across the opening of an extra lens board, and
with the hot point of a needle burn a tiny hole in the center.
This hole may then be enlarged to the full diameter of the
needle by gradually working the needle into it, rotating it
between the finger and thumb in drill fashion. The cost of
material is limited to one needle and five minutes' time — the
cost of the black paper need not be taken into consideration,
as it is a by-product.
668. The use of a pin-hole requires many times the
amount of exposure to that of a lens. It must be borne in
mind that the diaphragm value is almost the same, however,
as if this same small opening were used on the lens. But,
owing to the fact that there is no glass to retard the rays of
light and cause cross reflections, a quicker exposure is pos-
sible than if the same size opening were employed when us-
ing a lens.
669. The most minute pin-hole will give a remarkably
sharp image. As the size of the hole is increased the bril-
293
294 Library^ of Practical Photography.
liancy fades, the image becomes "fuzzy," until, when the
opening has been increased fo quarter of an inch in diameter,
there will be no recognizable image. Here is where the lens
scores its strongest point. The optician can grind the glass
and combine the various forms of lens cells to control the
rays of light, making it possible to employ a large opening,
and to produce a sharp image by admitting a great number
of light rays instead of only a few, as is the case when work-
ing with the pin-hole.
670. It is a well-known fact that the larger the open-
ing of the lens the less is the depth of focus. When a large
opening is used the ground-glass cannot be moved as far
forward and backward, without a single object becoming
unsharp, as when employing a small opening or diaphragm.
"When a very small diaphragm is used almost the whole
field covered by the lens (objects in the extreme distance
and those within a few feet of the camera) is sharp. When
using the pin-hole no object is out of focus (unsharp).
671. It is not possible to photograph moving objects
when working with a pin-hole. At first thought, it might
seem equally impossible to make a view of a busy street, or
to secure a good landscape negative when the wind is blow-
ing. It is right here, however, that the pin-hole will accom-
plish results that can seldom be obtained with a lens. For
street photography the pin-hole has many advantages, but
for the present it is sufficient to say that after having given
from two to five minutes' exposure only those objects that
have remained perfectly still during this time will have
made any visible impression upon the sensitive plate. The
people, cars, teams, carriages, automobiles, etc., which have
been moving around in the meantime will not only leave no
outline, but there will be no blur caused by them. The
developed negative will show the buildings and all station-
ary objects in perfect form, while the moving objects will
have entirely disappeared. When wind causes a movement
of the trees in a landscape scene, the point at which the
branches remain the longest time will produce the image and
there will be no blur.
n 2
Study No.
OCTOBER DAY (PINHOLE)
-See Page 315 By C. F. Clark
RY
lOX
NATIONS
Pin-Hole Photography. 297
672. The three exceptions referred to in the first para-
graph of this chapter having now been explained, they may
be briefly summarized as follows : First, as the pin-hole re-
quires from 60 to 100 times the amount of exposure of the
average lens, it is impossible to use the pin-hole when one's
time is valuable and when a hasty exposure must be made.
Second, the definition is very uniform throughout the pic-
ture, for all objects, whether near or distant, are equally
lacking in perfect definition. A general criticism, passed
by artists, is that this definition is too uniform. Third, ow-
ing to length of the exposure it is impossible to photograph
moving objects.
673. Though the pin-hole is of somewhat limited ap-
plication, it should certainly be tried by the pictorial worker
for certain effects, and it will prove useful to the technician
for securing extremely wide-angled views in restricted posi-
tions.
674. A pin-hole has no focus — it may be placed at
practically any distance from the lens — all that is necessary
is to rack the camera until the desired angle of view is
reached. It is necessary, however, to select a pin-hole of a
size suitable to the camera extension. The greater the dis-
tance from the pin-hole to the plate the larger may be the
pin-hole. If the distance is sixteen inches, the pin-hole
should be about 1-12 of an inch in diameter. At a distance
of ten inches, a hole l-40th of an inch is correct; while for
six inches, the pin-hole may be l-50th of an inch. These
sizes and distances are quite correct for the best definition,
and are proper no matter what size of plate is employed. In
order that these diameters may be accurately judged, vari-
ous sizes of needles are employed. These are gauged by the
needle manufacturers and the sizes are standard. Although
the hole is made with a needle instead of a pin, the method
is known as pin-hole photography, and it will probably con-
tinue to be known by this name.
675. Making the Pin-Hole. — To make a pin-hole, take
a piece of very thin brass, or other metal, or even tough
III— 15
298 Library) of Practical Photograph.
black paper. Take a wire nail and place it in the center of
the brass, and strike with ir hammer. A depression will be
made on one side. With a fine file rub on the raised portion
until a very minute hole appears, and then push a needle
through a little way. Withdraw the needle and file the
rough edges. Again insert the needle and draw it back and
forth, carefully, and upon removing it file until the edge of
the hole is perfectly smooth. It is absolutely essential that the
hole be perfectly round, thin and sharp. Especially is this neces-
sary when extreme wide-angle pictures are to be made.
The use of a magnifying glass will greatly assist in secur-
ing a perfectly formed, smooth-edged pin-hole. In order
that the exposure may be determined exactly, it is
essential that the needle fit the hole perfectly, not too tightly—
so it will be possible to move the needle backward and
forward without any side play.
676. Blackening the Brass. — All reflection must be
avoided ; therefore, it is necessary to blacken the brass. The
portions that have been filed would render the pin-hole use-
less if left bright. The best method to employ is one that
will not clog the hole, and this is accomplished by holding
the brass in the fumes of burning rock sulphur.
677. Placing the Pin-Hole in Position.— The pin-hole is
placed where the lens should be. An extra lens board may
be employed. The pin-hole, whether of brass, paper, or
other material, is fastened so that the hole will be in the
center of the camera front. Care must be taken that no
light enters the camera other than that coming through
the pin-hole.
678. Size of Needles. — The most useful sizes of needles
are numbers 8, 10, 11 and 12, which give a variation in the
size of the hole from l-35th to 1-7 5th of an inch. The num-
ber 8 is useful for 5 X 7 or larger plates, but will give too
much diffusion for smaller sizes. With 4x5 negatives, the
number 10 is the most useful for all-round work. The num-
bers 11 and 12 will give still sharper definition, but require
a correspondingly greater amount of exposure.
Pin-Hole Photography. 299
Practice Work.
679. Composing the View on Ground-glass. — It is neces-
sary to have some means of composing the picture on the
ground-glass, but the amount of light passed through the
holes, previously recommended, is too small to allow of the
image being clearly seen. There are four methods of accom-
plishing this, any one of which will give satisfactory results.
First, the image may be clearly seen on the ground-glass by
constructing a larger aperture, about 1-16 of an inch in
diameter.
680. The second method is to fix a pin in the lens
board, directly over the pin-hole, and two pins at the edges
of the ground-glass in the panel at the rear of the camera;
then stretch an elastic band on these three pins. By looking
along the line of the elastic from one of the back pins to the
front pin, and on out into the view, all objects along this
line will be included in the picture. Of course it is neces-
sary to then look along the line formed by the other back
pin and the front pin, in order to obtain the other boundary
of the view — all objects between these two boundary lines
will be included on the ground-glass.
681. Third, if the angle of view included hy any lens,
or combination of lenses, which you might have, is con-
sidered satisfactory, it is possible to overcome the difficulty
of arranging the subject on the ground- glass by focusing
with such a lens, and then substituting for it the pin-hole.
The amount of view on the negative will be practically the
same as that projected on the ground-glass by the lens. A
pin-hole placed the same distance from the ground-glass as
the focal length of a certain lens will give the same angle of
view as that lens.
682. The fourth and simplest method of overcoming
this difficulty is the use of a direct vision view-finder, as
large as -possible, and so arranged that any raising of the
front also raises the wire frame of the finder, in order that
the amount of rise may be automatically shown.
683. Angle of View. — The extreme width of angle
300 Library of Practical Photography.
which may be obtained with a pin-hole renders its aid very
valuable when working in confined situations. With a very
carefully made pin-hole it is possible to produce a much
wider angle of view than could be secured with the majority
of the wide-angle lenses on the market. It is, however, very
important to have the edge of the pin-hole perfectly clean
and smooth, and if the angle is extremely wide, the cleaner
and thinner the edge, the better and more evenly illuminated
will be the result. For pictorial work a wide angle is not
recommended ; in fact a very narrow angle will give far bet-
ter results — one of about 30 degrees. The wide angle will
prove of value for record work and producing photographs,
in very restricted areas, required for commercial purposes.
684. The nearer the pin-hole is to the plate the wider
is the angle of view, and the shorter is the exposure required.
With the ordinary rectilinear lens, when taking a distant
object, it is necessary to work practically at one distance
only from the plate, whereas with one and the same pin-hole
it is possible to work at any distance from the plate. For
example, a number 10 hole will cover a 5 x 7 plate, at one
and a half inches distance. This gives an angle of view of
about 128 degrees, but at whatever distance the pin-hole is
from the plate the image is equally in focus. Of course the
further the pin-hole is from the ground-glass the less will
be the angle of view. These are facts of great importance,
as the one pin-hole supplies the place of a whole battery of
lenses.
685. Exposure. — There are two principal methods em-
ployed for ascertaining the required exposure for pin-holes
of various sizes, and for the various distances between the
pin-hole and ground-glass. One method is to give the pin-
hole number 8 a factor cf 7, say f/7, if the camera extension
is one inch. If the camera extension is doubled (two inches)
this factor is doubled — f/14. If the extension is three inches
the factor will be f/21. Whatever the number of inches of
extension the factor is found by multiplying the number of
inches by f/7. If using the Watkin 's Exposure Meter, what-
ever time it gives in seconds, use minutes. As an example,
Pin-Hole Photography. 301
say we are working at f/14, and the meter gives six seconds,
then expose for six minutes. If you do not employ an expo-
sure meter to judge your exposures with a lens, take the
number of seconds, or fraction of seconds, you would give
with the lens at a particular diaphragm value and use this
in minutes for your pin-hole exposures. Remember, how-
ever, that it is necessary to take into consideration the f
values at all times.
686. A second method is Avorked out on a different
basis and involves a little mathematical calculation, but
when the principle is once understood it will be found to be
extremely practical and very accurate. The method is
simplified by certain ascertained factors :
For a No. 8 hole the factor is 32,
For a No. 10 hole the factor is 55,
For a No. 12 hole the factor is 90.
Take the exposure you would give if you were using your
lens at f/8, multiply it by the factor for the size needle-hole
you are using, and again multiply the result by the square
of the number of inches between the hole and the plate. For
example, with a number 8 hole, and the distance 6 inches,
and a lens exposure at f/8, of say i/o second, multiply 32
(the factor for pin-hole number 8) by 1/2 (the exposure for
f/8), and the result is 16; multiply this (16) by the square
of 6 (the distance between pin-hole and plate) — the square
of 6 is 6 X 6, or 36 — and the result is 576, which is the num-
ber of seconds exposure required. To reduce this to minutes,
divide 576 by 60 (the number of seconds in a minute), and
the exposure will be a very little over 91/0 minutes. (9 min-
utes, 36 seconds.)
687. Development. — The development of a pin-hole
negative is exactly the same as for any other negative.
688. Paper to Use. — The surface of the paper on which
the final prints are made is a matter which requires
some consideration. Where there is no sharpness there is no
advantage in printing on glossy paper, and even in cases
where the photograph only possesses commercial value, the
effect will be better if a smooth matt surface, such as plat-
302 Library of Practical Photograph]).
inotype or matt bromide, is used. For pictorial effect such
surfaces as that of the CC platinotype and the rough de-
veloping and bromide pap'ers are most suitable, and the
character of the definition is distinctly pleasing.
689. Accomplishments of the Pin-Hole.— The pin-hole
will never replace the lens, but it will do many things that
the lens will do and some things the lens cannot do. Every
straight line will be quite true, if you will use the same pre-
cautions as when working with a lens, and the pin-hole will
give everything required. The following covers very well
the pin-hole's accomplishments:
(1) Rectilinear results;
(2) Truthfulness to nature ;
(3) Wide or narrow angle (same pin-hole) ;
(4) Telephoto or panoramic (same pin-hole) ;
(5) Depth of focus;
(6) Sense of atmosphere and correct impression of
distance, and altogether a nice artistic softness character-
izes the results. No focusing is required, as objects are al-
ways in focus, no matter how far or how short the camera
may be racked out.
690. The pin-hole appeals to two classes of workers in
particular. First, to the art photographer on account of the
softness and diffusion of definition which the pin-hole gives ;
and second, to those not over-burdened with dollars and
cents, who cannot purchase expensive apparatus.
Illustration No. 50
691. The Pin-Hole Lens. — This is a device so con-
structed that it will fit any lens flange and, when properly
adjusted, converts the camera to which it is applied into a
Pin-Hole Photograph-^. 303
pin-hole camera. The pin-hole lens can be purchased from
any photographic dealer, but it does not have the efficiency
of the regular pin-hole, for, as previously stated, the glass
of the lens retards the rays of light, thus increasing the ex-
posure to a certain extent. For wide-angle work it is impos-
sible to work at an angle over 95 degrees. The results are
better and it is by all means cheaper to make your own pin-
hole and use it without any lens whatsoever. (See Illustra-
tion No. 50. )
692. Final Cautions. — Remember, for the best results
it is necessary that the material used in making the pin-hole
should be very thin and absolutely opaque. The hole must
be perfectly smooth and round. Give enough exposure. If
six minutes are required, no harm will be done if you give
seven, as you will be giving only 1-6 more time. The size of
the pin-hole depends greatly upon the distance the pin-hole
is from the plate ; the shorter this distance the smaller may
be the hole. The greater the distance with the same size
hole, the more exposure will be required. When making
prints from pin-hole negatives, do not use a glossy or too
smooth a paper ; the greater the diffusion the rougher should
be the paper. Make proof prints from all negatives and file
in your proof file for future reference.
THE MKADOW RUAD
Study No. 48— See Page 312 jJv j. R. Fkterson
CHAPTER XXVI.
HOW THE STUDIES ILLUSTRATING THIS VOLUME
WERE MADE.
Study No. 2. Title, "An October Morning," by Sweet
Brothers, Minneapolis, Minn. This picture was made at
T:30 a. m. in a very heavy frost. The lens used was a
Zeiss, stopped down to F. 8; plate used, a Double Coated
Orthonon; exposure given, % second; developed with
eikonogen-hydroquinon, with no after treatment. (See
Page 26.)
Study No. 7. Title, "A Corner in the Piazetti" in
Venice, by Wm. H. Phillips, Liverpool, Ohio. The camera
used was a No. 3 Folding Pocket Kodak Camera attached
to a tripod. The lens used was a Goerz, Series 3, 5 inch
focus. The weather was cloudy, and there were people
constantly passing by. To avoid the figures appearing in
the picture I was compelled to close the shutter many times.
In consequence, this picture has received about 50 exposures
of 1-100 part of a second each. The total time for complet-
ing these exposures was about five minutes. Care was taken
that no consecutive exposure was given having any person
standing in the same place. Consequently, the picture was
made without figures in the view. The negative was made
on a non-curling film, developed with pyro, with no altering
in the development. The film was enlarged, and the prints
were made on Royal Bromide paper, 11 x 14 inches; de-
veloped with rodinal strong solution — one part rodinal, 6
parts water. (See Page 52.)
Study No. 1. Title, "Souvenir de Petit Trianon," in
Versailles, Paris, by Wm. H. Phillips, Liverpool, Ohio. The
camera used in making this picture was a No. 3 Folding
307
308 Library of Practical Photography.
Pocket ; the lens was a Goerz 5 inch focus, Series 3 ; negative
was made on non-curling Sim, developed in pyro-soda de-
veloper. The print was made on Royal Bromide enlarge-
ment 11 X 14 inches, developed with rodinal strong solution
— one part rodinal, 6 parts water. The print was mounted
with white margin on chocolate mount. (See Page 25.)
Study No. 16. Title, "Street in Old Japan," by Wm. H.
Phillips, Liverpool, Ohio. The camera used was a No. 3
Folding Pocket Kodak ; lens, a Goerz 5 inch focus. Series 3 ;
negative was made on non-curling film ; developed with pyro-
developer, with no after manipulation. Print was enlarged
to 8 X 10 on Royal Bromide, developed with rodinal strong
solution — one part rodinal, 6 parts water. (See Page 145.)
Study No. 44. Title, ''Spring," by Wm. H. Phillips,
Liverpool, Ohio. The camera used was a No. 3 Folding
Pocket Kodak ; lens used was a Goerz 5 inch focus. Series 3 ;
negative was made on non-curling film; developed with pyro-
soda developer. Print was made on Royal Bromide enlarge-
ment to 11x14 inches; developed with rodinal strong solu-
tion— one part rodinal, 6 parts water. (See Page 289.)
Study No. 13. Title, "Calling the Ferryman," by Mrs.
Nancy F. Cones, Covington, Ky. The weather conditions in
making this picture were slightly cloudy. The exposure
was made at 10 a. m. ; lens used was a Bausch & Lomb Rapid
Rectilinear; stop used, 32; exposure given, 1 second; film
used, Eastman non-curling; developed with metol-quinol
developer, with no after manipulation. The printing pro-
cess was Aristo Platino, sepia tone, mounted on sepia mount,
(See Page 130.)
Study No. 28. Title, "Moonlight on the Mississippi,"
by R. E. "Weeks, Chicago, 111. This picture was hung at the
Royal London and First American Salons. The weather con-
ditions when making this picture were bright. The exposure
was made at 5 :30 p. m. ; lens used was the regular equip-
ment of a Bull 's Eye camera, open stop ; exposure, instanta-
neous ; negative was made on an Eastman film, developed
with hydroquinon-metol. The diffused focus was obtained
by printing through bolting cloth; printing process, sepia
How the Studies Were Made. 309
on Royal Bromide, enlargement from a 3I/2 x 3I/2 film ; toned
in alum hypo bath. Print was mounted on a sepia colored
mount. (See Page 227.)
Study No. 45. Title, "The Road in the Sand," by Geo.
H. Sclieer, M. D., Sheboygan, Wis. This picture, exhibited
at the Third American Salon, was made on a bright cloudy
day, about 2 :30 p. m., in the month of October. The lens
used was a Rapid Rectilinear, full aperture ; plate used was
a Cramer Medium Isochromatic ; exposure given, ^ second,
with a B. & J. Ideal ray filter. The plate was developed in
a dilute pyro-soda developer, enlarged from an undoctored
negative on Royal Bromide paper — the sky portion receiving
a slightly longer exposure than the foreground, — and rede-
veloped in sodium sulphide. (See Page 290.)
Study No. 12. Title, ''Pleasures Under Summer Skies,"
by Wm. T. Knox, New York, N, Y. This picture was made
in very bright sunlight; exposure was made in the morning;
the lens used was a Plastigmat ; focal length, 8i/4 inches ;
stop used, No. 8 ; exposure given, 1-50 of a second ; plate used
was a Cramer Instantaneous Isochromatic ; developed in
pyro-acetone. Diffusion was obtained in the focusing. Print-
ing process, sepia Platinum, mounted on a combination
mount, first section, deep brown, second section, salmon
color. (See Page 129.)
Study No. 14. Title, "Fairy Tales," by Edmond L.
Sanderson, Waltham, Mass. The weather conditions when
making this picture were cloudy, but a good, bright light
prevailed. Exposure was made at 2 p. m. ; lens used was a
rectilinear of a 6i/^ inch focus ; stop used, U. S. No. 8. The
negative was made on a 4 x 5 film pack; exposure given,
about 2 seconds, with a bulb; the film was developed with
ortol, with no alteration after development. The film was
after enlarged on bromide. My present practice is to make
a positive, either on a contrasty plate or a rapid plate. The
former is used for flat negatives and the latter for harsh
ones. I then make my enlarged negative usually of 5 x 7
size, and produce contact prints with paper that seems most
310 Library of Practical Photography.
suitable. The print was mounted on carbon black mount.
(See Page 139.)
Study No. 8. Title, ''Day is Far Spent," by C. F.
Clarke, Springfield, Mass. This picture was hung in the
Third American Salon, also in Paris, at the Salon Club
exhibitions during 1906. The picture was made at 4:30
p. m., in the month of October, the day being quite cloudy.
The lens used was a Goerz No. 3, 9 inch focus; stop used,
U. S. No. 4; exposure given, 6 seconds, with a screen; the
plate used was an Orthonon ; developed in ortol, with no
after manipulation. (See Page 71.)
Study No. 9. Title, "The Bridge," by J. H. Field,
Berlin, Wis. The exposure was made at 6 a. m., on a misty
day. The lens used was a rapid rectilinear 5 x 7, of an 8
inch focal length ; stop used, wide open ; the exposure given
was 1 second, and the plate used was a medium Isochromatic,
developed in pyro-acetone, tank development. The printing
process was Willis & Clements Platinum, black and white,
and mounted on a combination mount of steel gray, fol-
lowed by Scotch gray. (See Page 91.)
Study No. 17. Title, "The Man on the Box," by Dr.
A. R. Benedict, Montclair, N. J. This picture was made on a
rainy day, at 2 p. m. The lens used was a rapid rectilinear;
focal length, 61/0 inches ; stop used, U. S. No. 8 ; exposure
given, y^ second. Negative was made on an Eastman film;
developed with metol-hydroquiuon, with no after manipula-
tion. The printing process was an enlargement on Standard
Bromide. A tripod was used in making the exposure, and
the exposure of the film was as nearly perfect as possible.
(See Page 146.)
Study No. 43. Title, "A Dull October Day," by John
Chislett, Indianapolis, Ind. Print was made at 4:30 p. m.,
with a Smith lens, very slightly stopped down. The plate
used was a Cramer Instantaneous Isochromatic ; exposure
given was 2 seconds ; developer, ortol. There was no altering
of the negative, or manipulation after development. Print
was made on platinum paper, with the foreground darkened
in the printing, and a sky printed in from a separate nega-
Hovp the Studies Were Made. 311
tive. The print was mounted on a steel gray mount. (See
Page 284.)
Study No. 21. Title, "Departing Day," by Geo. II.
Scheer, M. D., Sheboygan, Wis. This picture was made on
a bright day, with the sky streaked with black clouds. The
picture was made at sunset in the month of July. The lens
used was a rapid rectilinear, worked with an open stop ; plate
used was an Orthonon; exposure given 2 to 3 seconds, with
a B. & J. Ideal ray filter. The plate was developed by tank
development, and 25 minute pyro formula used. The print
submitted is an enlargement, and was made from an altered
negative and enlarged on Platinoid Bromide, shaded during
exposure to give the sky portion all the way from two to
four times more exposure than the foreground, the top por-
tion, of course, receiving the longest exposure. The print
was redeveloped with sodium sulphide. (See Page 198.)
Study No. 15. Title, ''The Edge of the Cliff," by Myra
A. Wiggins, Toppenish, Wash. This picture was hung in
the Paris Salon of 1904, and has received other important
prizes: the grand prize of $100, by the Youth's Companion
Publishing Company, of Boston, and the first prize of $150
in the Bausch & Lomb contest for genre subjects. The
weather was quite cloudy, and exposure was made late in the
afternoon. The lens used was a Bausch & Lomb, with an
open diaphragm. For exposure a cap was used, and made
as quickly as the lens could be covered and uncovered. The
plate used was a Cramer Medium Isochromatic ; developer
used was pyro, and the plate was controlled entirely in the
developing, with no after manipulation. The print was
made on a sepia platinum parchment. (See Page 140.)
Study No. 10. Title "August Showers," by Dr. A. R.
Benedict, Montclair, N. J. This picture was made at 4 p. m.,
on a day when it was raining "cats and dogs." The lens
used was a rapid rectilinear; focal length, 6I/2 inches; stop
used, U. S. No. 4; exposure given, 1-25 of a second. Nega-
tive was made on an Eastman film, developed with metol-
hydroquinon. Printing process, enlargement on Standard
Bromide from a 31/4 x 5l^ film. (See Page 111.)
312 Library of Practical Photography.
Study No. 48. Title, "The Meadow Road," by J. R.
Peterson, Portland, Ore. This picture was accepted and
hung at the Third American Salon. The exposure was made
at 6 a. m. in the month of August, on a bright, clear day.
The lens used was a Plastigmat ; focal length, 9 inches ; stop
used, U. S. No. 8; exposure given, i/o second. The plate
used was a 5 x 7 Orthonon, developed with rodinal. Print-
ing process, Eastman sepia paper. The negative was en-
larged to 8 X 10; the clouds were worked in in the printing
from a new negative. The picture was mounted on a com-
bination mount — first section black border, followed with
an ash gray mount. (See Page 306.)
Study No. 36. Title, "Hillside Path," by Wm. T. Knox,
New York, N. Y. The exposure was made at 11 a. m., on a
bright day. The lens used was a Zeiss; focal length, 12%
inches ; stop used. No. 4 ; exposure given was 1 second ; the
plate used was a Cramer Isochromatic, developed in pyro ;
diffusion was obtained in exposure. Printing process, plat-
inum ; mounted on a combination mount — first section
Scotch gray; second section carbon black, with the final
support of dark gray. (See Page 258.)
Study No. 11. Title, "Fast Falls the Eventide," by
Geo. H. Paine, Providence, R. I. The weather was quite clear
with a few clouds near the horizon. The picture was made
late in the afternoon, in the month of October. The lens
used was a rapid rectilinear ; focal length, 131/2 inches ; stop
used, U. S. No. 8; exposure given, i/4 second; plate used,
Seed 27 ; developer, pyro. Printing process, Nepera Velox
paper. The clouds in the picture were all in the negative,
but were strengthened from the back of the negative, as
were also the highlights over the trees. (See Page 112.)
Study No. 18. Title, "Snow Scene," by W. A. Wilson,
Nampa, Idaho. The weather was cloudy; the exposure was
made at 11 a. m. ; the camera used was an Eastman Folding
Pocket No. 4; negative was made on an N. C. film. Print-
ing process, Aristo Platino. (See Page 189.)
Study No. 19. Title, ' ' Street Scene— Winter, ' ' by John S.
Neary, Trenton, N. J. This picture was taken at 1 p. m. ;
Hon> the Studies Were Made. 313
camera used was an Eastman Pocket Kodak, size 2i/(> x 414 ;
weather conditions, snowing very hard. Film was developed
with pyro, and enlargement made on Bromide paper;
mounted on carbon black mount. (See Page 190.)
Study No. 20. Title, ''The Dreary Road," by C. F.
Clark, Springfield, Mass. This picture was made at 3:30
p. m., in the month of January, light very bright. The lens
used was a Goerz, 9 inch focal length; stop used, U. S. 4;
exposure given, 3 seconds, with a very deep screen; plate
used, Orthonon; developer, ortol. The development was
made without alteration, intensifying or reducing. The
print was made on Platinum paper, and mounted on carbon
black. (See Page 197.)
Study No. 22. Title, ''The Wave," by J. R. Peterson,
Portland, Ore. This picture was accepted and hung at the
Third American Salon. Weather conditions, a clearing
storm, with dull light; exposure was made at 10 a. m., in
the month of May; the lens used was the rear con].bination
of a Plastigmat ; focal length, 18 inches ; stop used, 5x7
open ; exposure given, 1-25 of a second ; plate used, 5x7
Orthonon ; developer, rodinal ; printing process, carbon. This
negative was worked on by making positives and negatives,
to increase contrast and to print in the sky, and afterwards
the picture was enlarged to 8 x 10. Picture is mounted on
carbon black mount. (See Page 205.)
Study No. 23. Title "All Aboard," by Wm. T. Knox.
New York, N. Y. Exposure was made in the forenoon of a
bright day, with light clouds. The lens used was a rapid
rectilinear, fitted to a Premo film pack camera ; negative was
made on film, and developed in pyro. The diffusion was
obtained in the enlargement. Print was mounted on gray
card. (See Page 206.)
Study No. 24. Title, "Oyster Boat," taken in New
York Harbor, from ferryboat, by Dr. A. R. Benedict, Mont-
clair, N. J. This picture was made at 4:30 p. m., on a clear
day, with light clouds ; the lens used was a rapid rectilinear;
focal length, 6V2 inches; stop used, U. S. 4. Negative was
made on an Eastman film, developed with metol, with no
314 Library of Practical Photography.
after manipulation; printing process, bromide enlargement
(used Standard Bromide). 'The print was enlarged with a
white margin, mounted on black card. (See Page 209.)
Study No. 27. Title, "Boats Near Venice," by Wm. H.
Phillips, Liverpool, Ohio. The camera used in making this
exposure was a No. 3 Folding Pocket Kodak, fitted with a
Goerz lens. Series 3, of a 5 inch focus. The negative was
made on non-curling film, developed with pyro-soda. The
print was enlarged from the film on Rough Royal Bromide
8 X 12 inches, developed with rodinal strong solution, one
part rodinal, 6 parts water. (See Page 214.)
Study No. 29. Title, "Blossoms" (Cherokee roses), by
Mrs. M. S. Gaines, Llobile, Ala. The exposure was made at
home, at 9 a. m. ; the lens used was a Plastigmat ; stop used,
F. 32; exposure given, 2 seconds; plate used. Hammer; de-
veloped in metol. Printing process, gum bichromate, on
rough surface paper. Mount, cream with a line. (See
Page 241.)
Study No. 32. Title, "Chrysanthemums," by Dr. A. R.
Benedict, Montclair, N. J. Exposure was made in the home,
at noon of a clear day, with a rapid rectilinear lens ; focal
length, 61/0 inches; stop used, U. S. 16; exposure given, I/2
minute. Negative was made on an Eastman film, developed
with metol. Printing process, direct print on Platinum
paper. This picture was taken indoors, near a window, with
a 3-A Folding Pocket kodak, with portrait attachment. Pic-
ture was mounted on salmon color mount. (See Page 248.)
Study No. 33. Title, "Water Lilies," by Mrs. M. S.
Gaines, Mobile, Ala. Exposure was made at 8 a. m., on a fair
day; lens used, Plastigmat; stop used, F. 16; exposure given,
1 minute; plate used was a Hammer Regular, developed
with rodinal — no alteration of the plate after development.
The diffused effect was obtained in the printing. The print-
ing process was gum bichromate on very rough paper. The
picture was mounted on a combination mount, first section,
ordinary strawboard paper ; second section, a delicate green
tint cardboard. This picture was reproduced exactly as seen
where the flowers grew in a deeply shaded pool. The wind
How the Studies Were Made. 315
swaying the over-hanging branches permitted the sunshine
to strike one flower only, leaving the others in shadow.
(See Page 251.)
Study No. 46. Title, "Needle-hole Landscape," by G.
H. Paine, Providence, R. I. This picture was made at 1
p. m., on a clear day ; lens used was a home made needle-hole
No. 10 in brass plate ; focal length, 10 inches ; exposure given,
7 minutes; plate used. Seed 27 Gilt Edge; developed in pyro.
The negative was slightly locally reduced in one or two
places with cotton and alcohol. Printing process, Nepera
black. (See Page 295.)
Study No. 47. Title, "October Day," (pin-hole pic-
ture), by C. F. Clarke, Springfield, Mass. This picture was
taken at 10 a. m., on a bright day, in the month of October;
lens used was a McCorkle pin-hole attachment ; focal length,
6 inch bellows ; stop used. No. 10 needle hoLe ; exposure
given, 2 minutes ; plate used, Orthonon ; developed in ortol,
with no after manipulation. (See Page 296.)
Ill — 24
CHAPTER XXXVIII.
HOW TO UNDERSTAND AND ENJOY THE STUDIES
ILLUSTRATING THIS VOLUME.
Pictures, books and music all have charms to soothe and
help one to forget the worriments and cares of life. People
with different temperaments take to one or the other of
these, accordingly as their tastes run to literature, art, or
music. One of the leading art critics of the country says:
"You must look at pictures studiously, earnestly, honestly.
It will take years before you can come to a full appreciation
of art; but when at last you have it, you will be possessed
of one of the purest, loftiest and most ennobling pleasures
that the civilized world can offer you."
Good photographs, like good people, have individual
character and charm. In analyzing pictures, the purpose
should be to increase our understanding and appreciation
of what is admirable in them. The structural lines enclos-
ing the areas and the beautifully proportioned parts of light
and dark, form the elements of beauty in most pictures. Just
as one needs to cultivate a good literary taste to rightly ap-
preciate fine literature, so also should you have the right
ideals of art to properly enjoy pictures. The province of all
picture study is to lead one to discover the application and
use of art principles. These things do not simply happen in
the picture, the artist aims consciously to produce beauty.
The balance of the parts, the beauty of the light and dark
masses, the rythmic lines and the blending of all these in
harmony, are planned to give us a sense of ideal beauty. In
all pictorial expression, besides light and shade and arrange-
ment, the underlying principles of perspective and the fore-
S17
318 Library) of Practical Photography.
shortening of objects must be understood by the artist, to
make the leading lines of his. picture correct. Ruskin says:
"The greatest thing a human soul ever does in this world
is to see something and tell what it saw in a plain way.
Hundreds of people can talk for one who can think; but
thousands can think for one who can see. To see clearly is
prophecy, poetry and religion — all in one. ' '
In Study No. 6, we have a fine example of a typical
middle-class home, such as will be found in the suburbs of
our American cities. Its over-lying eaves and dormer win-
dows suggest the Swiss chalet and its style may be character-
ized as Swiss-American. The presence of severe simplicity,
together with a fine suggestion of atmospheric effect from
the clouds, impart a subtle charm to the lines of the house
which are very pleasing. With the single exception of the
porch window there is not a curved line in the building.
The photographer realizing this fact, no doubt, has given
us a perspective on the front and side elevations which em-
phasizes its best proportions and leaves but little for the
imagination to supply. A building like this, designed en-
tirely by one man and forming a complete work in itself, is
necessarily created with the idea that it will be seen from
certain probable and particular standpoints. The photog-
rapher has chosen, undoubtedly, the correct point of view —
since there is perfect symmetry in it. The predominating
feature being the porch, he has directed attention to it by
placing it in the foreground of his picture. (See Page 48.)
The value of the foreground in worjs of this kind is not
always rightly appreciated. Nothing is more incongruous
than to see the foreground of a photograph cut off imme-
diately in front of a vertical column or wall. In this picture
the floor lines in front of the embankment, instinctively con-
vey the sense of space and suggest that one is standing at a
distance from the nearest vertical plane. Moreover, blank
wall surfaces always play an important part in an archi-
tectural design. Their proportions and general arrange-
ments often test severely even the skill of the architect.
"We can see that the photographer has not slighted this fea-
:W YORK
LIBRARY
Hon) io Understand and Enjoy the Studies. 321
ture, and in order that his drawing may be correct has
seen to it that all upright lines are vertical in the photo-
graph. The lighting is good, and, on the whole, the picture
is an excellent example of Architectural Photography.
In Study No. 4, we have an architectural photograph
that is not only a fine record of fact, but a picture as well.
The photographer has not only succeeded in interpreting the
lines of this handsome residence in a truthful and intelligent
manner, but has also idealized it. By securing the beauty
of the surroundings, the graceful shrubbery, and an interest-
ing sky, he has given us the building as the principal point
of interest in his picture like a gem in its setting. The
fundamental requirement of every architectural photograph
is true and perfect perspective, which here is good. (See
Page 44.)
Ordinarily nothing near the camera should be included
in the composition, as distortion is likely to ensue and prove
very unpleasant. The wires that cross the sky line here have
been unduly magnified and are decidedly irritating. Besides
being a defect in themselves, they emphasize the repetition of
parallel lines in the trolley wire, the stone wall, the concrete
sidewalk and the street. Unless there was a special reason
for it this photograph can be much improved pictorially
by eliminating the wall altogether. Then, by further trim-
ming, obliterate the telegraph pole growing out of the in-
artistic structure to the left of the picture. In so doing,
while you have lessened its size apparently you will not have
altered the proportions, and on the whole have improved
your picture fifty per cent. You will have wiped out the
defects and strengthened it by concentrating interest upon
the house and grounds, the principal object of interest.
In Study No. 3 is a stately building of severe simplicity,
with classic lines that are chaste and very imposing. The
noble portico of the front elevation with its fluted columns
and pediment suggest the lines of a Greek temple. The
photographer, by his skill and taste, has selected a point of
view that strengthens these impressions, and one almost re-
322 Library of Practical Photography.
grets that such a structure was built of wood instead of
some material more enduring. The curved line of the road-
way is very pleasing, and repeated from the top of the steps,
doubly so, by suggestion and inference. (See Page 43.)
The foreground is sufficiently broad to emphasize the
vertical columns of the portico. If there was any less, the
building would appear cut off and top heavy in the photo-
graph, which would result in want of balance and support
to the composition. One serious aspect, at least, from a
pictorial standpoint, is lack of sky or any suggestion of
atmosphere in the picture. Pure white skies and micro-
scopical details were accepted 20 years ago by exhibition
judges as ideal pictures. Today they would not be tolerated
in polite photographic society. It is wonderful whr.t a dif-
ference in the brilliancy of the negative a ray filter or sky
shade will make when judiciously used. Especially is this
so when working with a lens that will cover a larger plate
than the one exposed. The mouldings and projecting wood
work here are not designed as mere ornaments, but rather
to soften or strengthen outline, as the case may be, or to
reveal structural lines in the building itself. The lighting,
therefore, had to be carefully selected in order to avoid
false effects in the photograph. Everything here is in har-
mony with one especially designed scheme of lighting, and
there are no awkward cross lights in the photograph to dis-
tract the attention. Finally there is a feeling for symmetry
and good balance in the composition that is very interest-
ing, to say the least.
It is a mistake to assume that exact symmetry is in-
artistic. The finer the architecture the more strikingly im-
pressive are its symmetrical proportions and lines. Being
a salient feature of the construction, attention should be
directed to them, by the photographer, in his picture. This
the photographer, with very pleasing effect, has done in this
picture. Another picture of this same residence made three
years later is presented as a frontispiece. It shows a marked
improvement in appearance, owing to the surroundings and
cloud effects.
Horv to Understand and Enjo]) the Studies. 323
Study No. 5 shows an old-fashioned two story block
house, plain and substantial in appearance, but with nothing
of distinction about it architecturally. The photographer
has given us a picture of the grounds, with the house in-
cluded. The statue of the ''Winged Mercury," balancing
himself on his toes, and the little house in the rear, attract
the most attention. The old homestead is easily a second-
ary interest in the picture. The sweep of roadway in front
of the house carries the eye naturally into the picture to the
• house and helps out somewhat. In fact it is the saving
quality of the picture. On the other hand, the high key of
the statue, the fountain, and the little house in the rear,
make them easily the central point of interest in the picture.
With this divided interest it becomes confusing and lacks
simplicity and unity, the basic quality of all true art. The
defects would be less glaring if they were subdued to a
lower key. It is a case of over-crowding the picture with
detail. (See Page 47.)
There can be no objection to the statue, but it was too
near the camera and therefore is magnified out of all due
proportion. Furthermore, the absence of a sky and clouds
destroys all suggestion Of atmosphere and bars this picture
from the pictorial class. It is only what it purports to be —
a commercial photograph. In a work of art, these details
would be supplied, plus the refined feeling that always
characterizes an artistic picture. The composition may be
perfect, the lines and masses may be balanced with the ut-
most harmony, the values may be true, but the one necessary
quality to bind them all together is that fine poetic quality
or feeling which always characterizes a real work of art.
For art is not an affair of argument but rather of deep feel-
ing. If you feel a picture to be wrong, it cannot be alto-
gether right. One feels that this picture can be improved
upon in the ways just indicated.
Architectural Photography is in itself a field for end-
less study and delight to those who have the opportunity
and taste for it. By means of photography can be repro-
duced the greatest achievements along the lines of architec-
324 Library of Practical Photograph}).
ture and buildings. While the artist photographer, in making
a diffused focus picture, often secures a blurred image in
the finished picture, the architect and draughtsman, on
the other hand, demand all the details necessary for the
proper presentation of the design. One is seeking to make
the picture artistic by reproducing only an impression of the
subject with all detail suppressed, while the other is looking
for a record of fact, with every possible detail reproduced.
Study No. 2. The picture entitled "October Morning,"
by Sweet Brothers, of Minneapolis, is an excellent example
of an artistic photograph that is not architectural. The
morning mist is very interesting. The artist has made use
of the people walking along the sidewalk, an electric light
pole and a wagon in the street, to give proper tone and
animation to his picture. In the midst of it all, like a dia-
mond in its setting, is the outline of a noble building. Only
the outline of the pediment and facade are visible in the
half-tone. (See Page 26.)
The pillars stand out perfectly through the veil of mist
that enfolds them, and the repetition of the vertical lines in
the columns gives an impression of loftiness and dignity.
By cutting off the other buildings in the street, the artist has
brought out the outlines of the structure in a delightful
way. While it cannot be regarded as an architectural pic-
ture, in the strict sense of the term, it is a clever bit of pho-
tographic work, to say the least, having been treated most
artistically.
Holding a middle place between the sharply defined
and the diffused focus picture, is the picture entitled, "A
Corner in the Piazetti in Venice." (Study No. 7.) In it
we have a choice bit of architectural detail that is well
rendered. It represents a portion of the Doge's palace, near
the Ducal staircase in the Piazetti. While the details in the
stone carvings of the eapitol are lost, the majestic sweep of
the Gothic arches, and the rounded solidity of the columns
are profoundly impressive. After reflecting upon the limita-
tions of the camera, lens, plate and paper, we cannot but
admire the cleverness of the artist in his choice of subject,
HoTv to Understand and Enjoy the Studies. 325
his point of view, his aerial perspective, his composition and
general treatment, for the resultant picture is superb.
The Parthenon at Athens is perhaps the best example of
architecture in the world toda3^ Like the splendid creations
of human genius in other lines of human endeavor, Shake-
speare's "Hamlet," Leonardo da Vinci's "Last Supper,"
Beethoven's Ninth Symphony; the artist has sought to pro-
duce the emotion of sublimity and grandeur by his creation.
In the case of the Parthenon, its great simplicity at the base,
the numerous vertical lines leading the attention upwards,
the decorations massed at the top, all help to carry the at-
tention upwards and the emotion of sublimity follows. In
this picture, by cutting off the irrelevant surroundings, the
artist has brought out the outlines of the palace in a delight-
ful way, and has centered the interest in the solid propor-
tions of the colonade. At first glance, the impression is one
of heavy massiveness, yet, with further study, the soaring
character of the arches and the repetition of column and
vertical line by the suggestion of a colonade in the upper
portion of the picture give it the appearance of airiness and
grace. Furthermore, by clever lighting and handling the
pillars, the central points of interest stand out perfectly
one beyond the other. We have gray against gray, and the
secret of this sharpness and rounded fullness in the
picture is due to the subtle variation in the depth of gray-
ness which only an artist could recognize and show in his
photograph. (See Page 52.)
In the "Souvenir de Petit Trianon," (Study No. 1),
we have an ideal example of what an architectural photo-
graph should be. The quaint stone house with its high
pitched roof covered with thatch, its over-hanging eaves
and dormer windows, is a good example of the French
country house at the close of the 18th century. The aerial
perspective, the first requisite in every good architectural
photograph, is exceedingly good. Due regard has been
given to the quality of light falling and to the diminution of
the strength of light and shade of the various objects in the
picture, according to their distances. Its setting is very
326 Library) of Practical Photography.
picturesque, in the heart of the forest, the soft foliage of the
trees furnishing a beautiful background, and emphasizing
the graceful lines and proportions of the building. The
straight parallel lines of the roadAvay lead the eye naturally
into the picture, ending abruptly at the further side, with the
Hogarth line of beauty, a double curve, one side of which
carries the eye directly to the building itself. Another
curve, partially suggested in the picture, falls at the foot
of a graceful winding staircase, again centering the atten-
tion upon the building. The balance of the picture is ad-
mirable, the masses of dark foliage on either side balance the
lights, on the house. The bit of highlight in the lower left
hand corner of the picture is balanced by the patch of dark
beneath the staircase. But it is the association that goes
with this beautiful spot that gives it a charm and makes it
deeply interesting. Here lived Marie Antoinette, the ill-
fated wife of Louis the XVI., King of France, and here she
came to spend perhaps the happiest days of her too short
life. Disgusted with the duplicity and affectation of court
life at Versailles she turned her back upon the palace and
sought to lead the simple life at Trianon, which the King had
built for her further back in the park. Here she came to
play the part of dairymaid, feeding the hens with her own
hands, milking the cows and making butter until the storm
of the French Revolution broke furiously over her head and
swept her to her awful fate. (See Page 25.)
In the beautiful landscape. Study No. 44, entitled
"Spring," by Wra. H. Phillips we have an open space on the
edge of the forest. The sun is shining through the morning
mist. The feeling of the picture is one of mingled mist and
sunshine. One can fancy the birds singing in the trees and
all nature awakening to life. It is a delightful impression
of nature and of life, in addition to being an exact photo-
graphic reproduction of the scene depicted. (See Page 289.)
Examine this print with half-closed e^'^es, to lose sight
of the details of the picture. Note how beautifully the darks
and lights blend. The soft feathery masses of the foliage
make the most delicate of transitions from the deep shade
Hoxv to Understand and Enjoy the Studies. 327
to the full sunshine and the misty haze of the distance. The
slender trees rise up, in the middle distance, as if just awak-
ening from sleep. The touches of light in the foreground
probably mean blooming flowers in the grasses. It is just
such a scene as one would see in early summer, and the
touches of sunshine are like a dream of paradise. What the
artist wants to show is the vigorous growth of the trees in
response to sun and showers. The lovely play of light
among the trees suggests an impulse to greet the dawn with
frolic and song.
The soft masses of foliage in the print are all full of
airy grace and life-like motion. Furthermore, the line of
beauty indicated by the pathway in the lighted foreground
is taken up by the grass and bushes and runs into the trees
below the center of the picture. The whole print is full of
graceful curves and soft touches of light and shade. The
joy of the picture is contagious. The principle of order so
essential to beauty is everywhere in evidence, and one feels
that this picture is pleasant to look at, even if we do not
quite understand it as we would like.
In all good composition, the artist seeks first to lead
the attention by means of harmonious arrangement of con-
trasts and transitions of line and shadow to the center of
interest in the picture. In the same way, the musical com-
poser builds up his production about a dominant theme.
The composer of literature arranges his material about a
dominant incident or character in the book. In each of
these arts, strength, snap and brilliancy are obtained by
contrasts, while delicacy, grace and subtlety are secured by
transitions, the principle of unity remaining the same in all
the arts alike.
For instance, literature does not depend upon one lan-
guage, nor upon one class of subjects for expression. Music
is not confined to one instrument; neither is art in picture
making confined to one method of expression. The artist
not only must know composition, but also the action and re-
action of its principles, and the more combinations he knows
and can produce the greater master will he become.
328 Library of Practical Photography.
In Study No. 13, "Calling the Ferryman," by Nancy
Cones, of Covington, Ky., "v^ have a landscape with figures
which has all the qualities of a painting. The perspective
lines of shrubbery repeated again by the reflection in the
water gives a fine effect of distance. They are the structural
lines and heighten the effect of mystery as to the where-
abouts of the ferryman, by carrying the eye into the picture
near the central point of interest. The lines also contrast
with the two vertical figures in the foreground. Note the
difference in the stature of the girlish figures, thus avoiding
monotony and giving grace and interest to the children by
transition of line. The tree in the right hand corner of the
print is a decorative mass effect and keeps the eye from get-
ting off the picture. On the whole there is something about
the way in which this picture is put together that is very
pleasing. There is a subtle charm about it that we cannot
explain, and yet we feel it. After all is said, the artist is one
who has mastered the laws of art and who works in accord-
ance therewith, or adds thereto. But mark this significant
fact, that in the great constructive arts of architecture and
music, no one has yet succeeded in setting aside a single
fundamental law since the day the art was first formulated.
No architect has yet found a way to design a building, how-
ever novel in appearance, or beautiful in design, without
any consideration of lintel, vault or pier. No composer has
invented any way of composing music without regarding the
melody, subject matter, development and conclusion. So
also, no painter and no photographer can make an artistic
picture without regard first to those laws of technic dis-
covered, formulated and applied by the old masters, and
which have been developed by observation and study. No
photographer, however gifted, can be called an artist who is
not master of all this and more besides. (See Page 130.)
In the picture entitled "Moonlight on the Mississippi,"
Study No. 28 by R. E. Weeks, we have a characteristic pic-
ture that is common enough on the inland water ways of the
great middle west, and yet the picture is seldom attempted
by the photographer. This particular sky is all ablaze with
How to Understand and Enjo^ the Studies. 329
light and the surface of the river is alive with rippling color.
But the eye is specially attracted to the black hull of the
steamboat with its smokestacks belching forth dark clouds
of smoke. The direction of this smoke gives us a line in the
picture that produces the effect of movement in the steam-
boat. It will also be noted that the movement of the boat is
into the picture, not out of it. It is interesting to analyze
how this sense of motion is produced. The short lines of the
river banks emphasize by contrast the long lines of light
shadow on the bosom of the river, sloping in the opposite
direction, through all of which, whether we are conscious
of it or not, we feel the pull of these lines towards the water
level in the foreground of the picture. We then instinc-
tively translate this feeling into a forward motion of the
steamboat. (See Page 227.)
The patches of light in the sky, reflected and repeated
in the river, are well balanced by the masses of dark on the
opposite side of the picture. They also help to strengthen
the effect of distance and the breadth of water spaces in
the picture. The vertical lines of the steamboat stacks lead
the eye upwards into the sky — and as we admire the beauties
of line and color in the sunset flooding the whole scene — we
cannot but feel that the artist has not only given us a pic-
ture to delight the eyes, but also has caught the spirit of this
Mississippi scene, expressing his conception of it in form and
color and the sweep of beautiful line in the photograph.
Study No. 45. "The Road in the Sand," by George H.
Scheer, M. D., is a picture in which simplicity and masses
of light and shade predominate. The picture itself is divid-
ed, like all Gaul, into three parts : Earth, sea and sky. The
eye follows this rough roadway of sand naturally to the
principal point of interest — the white crest of the wave just
breaking on the shore. In fact, the picture consists of this
patch of highlight centrally placed in a background of light
gray. The sharp definition of the wave crest contrasts with
the receding background and aids the suggestion of dis-
tance and atmosphere in the picture. It also demonstrates
clearly that only a moderate amount of pictorial matter,
330 Library of Practical Photography.
after all, is necessary to make a picture of lasting interest.
In this case, the sky helps but the general sentiment of the
picture, the low, subdued tones suggesting a gray day,
while the clouds are useful in assisting the composition by
the massing of shadows and light effects. The horizon line
divides the whole area into harmoniously proportioned
parts. The foreground with the sand dune and the road-
way are emphasized because the author wished to make this
portion of his picture more interesting. On the other hand,
he has given a goodly proportion of his picture area to sea
and sky space, in order that there might be a more pleasing
balance to his picture. In any composition, masses of light
and dark, as well as areas formed by the structural lines of
the print, are always an element of beauty. This principle
is charmingly illustrated in this picture, not only as to bal-
ance of parts, but also as to the beauty of the shapes or eon-
tours of light and dark masses. (See Page 290.)
Study No. 12. ''Under Summer Skies," by Wm. T.
Knox, is a good example of a landscape study with figures.
It is not an easy thing to do. The introduction of figures
gives a bit of human interest to the landscape, also an idea of
the size of objects in the picture, besides filling up uninterest-
ing spaces. The most pleasing photographs of this sort are
those in which the figures appear as part of the whole land-
scape. In the present instance the figures appear as the ob-
ject of principal interest, while the landscape serves as a
beautiful setting and background. The absence of sky space
is perhaps, disappointing, as it belies the title of the picture,
"Under Summer Skies." One feels that more sky, with a
mass of soft, rolling clouds, would make us realize the sum-
mer sunshine and frolic better. Notice how the upright
figures of the children, in sharp focus, give a suggestion of
distance and atmosphere to the picture. The eye rests first
on the white dress of the child, then wanders on naturally
to the black tree trunk that balances it, on the further side.
Instinctively and quite unconsciously we measure the height
of this tree by the height of the children at play, and think
of it as dividing interest with the children besides being
//on; to Understand and Enjo]) the Studies. 331
a dominant and a very decorative adjunt to the landscape.
It is curious how figures seem to fit those landscapes where
the dominant object is an upright, or when placed immed-
iately beneath the principal line. Perhaps to a painter this
photograph would appear faulty because of the exaggerated
size of the objects in the foreground and the excessive per-
spective shown in the receding surfaces of the background.
But a high horizon and narrow strip of sky never look right
to a painter, as they are too suggestive of a rising plane,
while the photographer accepts them as instances where
photography has iiiiproved upon painting. (See Page 129.)
In "Winter in the Country," by Sweet Brothers, we
have a landscape in which the dominant interest is snow.
Its soft white texture is emphasized by the inky blackness
of the water which, by a graceful sweep of line, carries the
eye into the picture to the principal point of interest. The
interest here is centered in an old house set in a group of
bare trees, every branch and twig of which is silhouetted up
against the winter's sky. The sky is hazy and the diffused
focus effect upon the house produces the effect of distance
and atmosphere. True tone values often are the making of
any picture and it used to be charged against photography
that it was unable to render tone values truthfully; but in
this landscape we really feel the quality of the snow. There
is no flatness or monotony, but an agreeable alternating of
light and shade that gives relief and contrast to the whole
picture. Indeed it is very interesting and attractive, not
only as a whole but also when analyzed into its component
parts. The materials are of the simplest and it furnishes an
object lesson of much real value as to the right use of ma-
terial and to the correct application of the primary elements
of composition. One feels that in less skilful hands this
material might prove to be almost inadequate as regards the
possibilities of picture making. As it stands it is an excel-
lent rendering of an aspect of nature by photography.
In the picture entitled "Fairy Tales," by E. J. Sander-
son, Study No. 14, we have an idea well expressed and an
excellent example of a group picture in the open sunlight.
332 Library of Practical Photography.
The absorbing interest of the young in fairy tales is well
known, and this picture expi-esses this idea. It is not a land-
scape study with figures, but a study of figures with a land-
scape for a setting. Where the landscape is the primary
motive of the picture the figures naturally should be sub-
ordinate. But in a picture like this, where the figures form
the central point of interest, the relative importance of the
landscape is reversed. It occupies a subordinate place in
the composition and emphasis is rather given to pose, light-
ing and action of the figures than to the landscape. If their
pose is faulty, or the grouping weak, or the lines of the com-
position bad, the picture is a failure. In this instance, how-
ever, the pose is easy, natural, and without affectation. The
line arrangement and the grouping are good. The principal
figure was first chosen by the artist and placed to the right
of the center, and the remaining figures were seated in such
a way that they did not interfere with the principal figures,
yet were held together well in the group. It is quite a prob-
lem to compass the arranging of forms or figures in a given
space. First of all, the figures should not be all of one size.
There can be no interest where everj'thing is of equal im-
portance. There should be a variety. Contrast is always a
valuable quality in art. Yet we should avoid the vulgarity
of extreme contrast as well as uniformity. A mother and
child are always good subjects. In this picture the two
larger girls lend contrast to and balance the children. Then
too, there is variety of pose in the figures that is pleasing.
Moreover, in every well balanced group picture, there is
some one link in the invisible chain that holds the members
of the group together. The bond of interest here is the reader.
One of the chief difficulties in a picture of this kind is to
get rid of the idea that the figures are posing to be photo-
graphed. In this instance the photographer has caught a
group of interested listeners, and that is what appeals to
our sympathy. In any group, too much action is always
confusing. One person may be doing something, while the
others are passive observers or listeners. Again, one of the
common faults in pictures of this kind is the crowding of
Horv to Understand and Enjo^ the Studies. 333
too many figures into the scene. No figure should be intro-
duced unless it serves a definite purpose, and the artist
should always have a reason for including it. Finally,
strong sunlight with great contrast of light and shade
usually gives harsh results, while what we should aim for is
a soft negative with plenty of gradation and half-tone in it.
We have here a picture made in soft sunlight and the differ-
ent effects of light are due to the varying positions of the
source of light in relation to the figures. There is good
modeling and detail with gradation in the shadow portion
of the negative. (See Page 139.)
The natural background here is simple and well chosen.
It is out of focus so as to give relief and emphasis and not
to attract attention from the principal interest of the pic-
ture ; and it is also in harmony with the character and oc-
cupation of the figures. A more brilliant background would
not allow the figures to come so well to the front of the
picture. This is something always to be considered in a
picture, and is of equal importance with figure posing and
lighting.
Study No. 16, ''Street in Old Japan." This picture is a
study in simplicity both in choice of subject and arrange-
ment. The structural lines of the photograph, defined
by the roadway, lead the eye naturally into the
picture and give it a good perspective. The central point
of interest is, of course, the bend in the roadway, which by
its concentrated patch of highlight fixes the attention and
holds the interest of the beholder. This highlight is em-
phasized by the figure coming down the street which lends
a bit of human interest to the scene. The lengthening out
of the mount heightens the effect and stretches out the road-
way very materially. While the technical quality of all
this, including the lighting, is good, one may well question
the wisdom of spreading out the foreground as it appears
in the picture. On the whole, however, its chief charm is
its extreme simplicity, its unity and breadth of treatment.
(See Page 145.)
Study No. 8, "The Day is Far Spent," by C. F. Clark,
in— 25
334 Library of Practical Photography.
This picture shows much good taste and feeling for pic-
torial work. The beautiful photographic work here is
largely the result of light and shade well distributed, giving
breadth and interest to the picture. The highlight is in the
sky and the water repeats this by reflection, while the strong-
est dark is in the solid patch of trees and foliage that lies
between. The dark preponderating over the light gives a
certain vigor and brilliancy to the composition. There is
good perspective, too, and a suggestion of atmosphere from
the clouds and from the ripple on the water. The horizon
line is well below the middle of the picture and it exempli-
fies contrast, breadth, simplicity and unity. (See Page 71.)
Study No. 9, "The Bridge," by J. H. Field. Only an
artist would have selected this point of view for a picture
of this bridge. The abutment in the foreground being up-
right, vertical, emphasizes by contrast the horizontal line
of the bridge span. The length of this span is emphasized by
the highlight at the extreme end of the bridge, which attracts
and fixes the attention. As a rule, the salient features of
bridge construction are always the supports at either end.
One feels that this bridge is adequately supported, even
though the further support is hidden from view. The ugli-
ness of the stone abutment in the foreground is softened,
perhaps, by the overhanging vine that produces a decorative
effect in the picture. (See Page 91.)
Study No. 43, ''A Dull October Day," by John Chislet.
This photograph is a good example of fine technical work in
picture making. By using a large stop and lessening the de-
gree of definition on the nearer parts of the picture, the
artist has suggested distances. The foreground, the middle
distance, the horizon line and sky, are all equally interesting
and relatively distant from each other. The repetition of
the sky line reflected in the water spaces below, illustrates
the balance of light and shade and gives an effect of breadth
to the picture. There is an agreeable absence of sharp de-
finition that has softened the picture down without going
to the extreme. (See Page 284.)
Study No. 21, "Departing Day," by George H. Scheer,
How to Understand and Enjoy the Studies. 335
M. D. This picture gives an imi^ressive effect of lights and
darks. The source of light here is the setting sun, already
sunk below the horizon. The general impression is a pre-
ponderance of darks over lights, while the strongest light is
only represented by a bit of sky. The sharp juxtaposition
of the extreme ends of the scale tends of course to suppress
the more delicate gradations and to do away with the middle
tones altogether. By trimming half an inch from the fore-
ground one concentrates interest on the open gates over the
crest of the hill, through which the sun has crowded down
to rest. (See Page 198.)
Study No. 15, "The Edge of the Cliff," by Myra A.
Wiggins. The object of the artist here was to pose these
two figures of mother and child in a proper setting. A lens
of good focal length, with a fairly large aperture was used,
and chief attention was paid to the figures. The back-
ground was so arranged that its general character was in-
dicated without any one feature standing out assertively to
divide attention with the mother and child. The result is
that the figures stand out in bold relief and are not confused
with the background. At the same time, there is no mis-
taking the general character of the cliff used as a setting for
the figures. The white dress of the child contrasts well
and balances the dark garments of the mother. Looking
into the picture one feels that there is some appreciable dis-
tance from the foreground to the vanishing point in the
background. (See Page 140.)
Study No. 48, "The Meadow Road," by J. R. Peterson.
This picture illustrates well the balance of mass and line
with general breadth of effect. The composition, as a whole,
is harmonious, though there is a tendency, perhaps, to in-
clude too many objects of interest. The upright posts are a
disfigurement, and if removed would not be missed from
the picture. The central point of interest is marked by the
highlight at the bend in the road where it is well placed in
sharp contrast with the mass of dark foliage. The sky is
good and the double mounting of the print lends a distinct
charm to the picture. (See Page 306.)
336 Library of Practical Photograph}^.
Study No. 36, "Hillside," by William T. Knox. In this
picture we have a good rendering of a charming bit of wood-
land scenery. It owes its chief attractiveness to its even dis-
tribution of light and shade. The quality of sunlight softens
and subdues detail, taking away all sense of harshness and
the spotty effects so common in pictures of this kind. The
winding pathway, which is the central point of interest, is
admirably placed, and holds the lines of the picture to-
gether well. The beautiful gray mount, with delicate grada-
tions of color, is in good harmony with the tones of the pic-
ture. (See Page 258.)
Study No. 11, "Fast Falls the Eventide," by George
H. Paine. Perhaps the most interesting feature of this pic-
ture is the sky lit by the dying sun. The line of trees, with
their branches and twigs silhouetted up against the sky
form the principal point of interest. The remaining parts
of the picture though dark and in shadow, show agreeable
gradations of tone and are by no means flat or monotonous.
Perhaps the chief charm is due to the sentiment of the sub-
ject itself. (See Page 112.)
Study No. 25, "Sunset Clouds over Bay," by S. I. Car-
penter. We have in this print a beautiful cloud study which,
though simple, is exceedingly effective. The rippling light
in the sky is reflected in the surface of the water and the
whole is rendered in broad flat tones that abound in grada-
tion of color. There are no violent contrasts here and every-
thing is soft and quiet, without losing the suggestion of sea
and sky. The picture is restful and inspiring. (See Page
210.)
Study No. 18, "Snow Scene," by W. A. Wilson. In this
picture we have a typical winter landscape, the snow newly
fallen. (See Page 189.)
"Busily all the night
Is heaping field and highway
With a silence deep and white."
Leafless trees under most any consideration are good
subjects for photography, but when covered with snow they
are doubly interesting, forming in this instance the central
Hon) to Understand and Enjoy the Studies. 337
point of interest in the picture. While the rendering of the
texture of the snow is good, footprints would have given us
shadows that are now lacking. It is said that shadows make
the picture and the hroad sweep of transparent shadow here
in the foreground is the most pictorial feature in the com-
position. The telegraph pole is decidedly objectionable.
Study No. 19, "Street Scene— Winter, " by J. S. Neary.
For delicacy of tone value and a broad arrangement of light
and shade this picture is a photographic gem. Its strength
lies in the subtle rendering and accentuation of the lighter
tone. These with the transparent shadows in the roadway
give a suggestion of delicacy and scattered light to the snow
that is very pleasing. The chief difficulty the photographer
has to contend with in snow scenes like this is the transla-
tion of color from a monochrome. The soft whites, the
tender grays and russet browns have all been remarkably
well rendered. (See Page 190.)
Study No. 23, ''All Aboard," by William T. Knox.
Here is a marine study of excellent quality. The point of
view is distinctly original and the spacing of the picture is
good. A sailboat at its moorings with canvas idly flapping
in the wind is something of a novelty even in picture mak-
ing. The tall mast of the sloop is emphasized by contrast
with the horizontal lines of the pier. Two thirds of the pic-
ture space is devoted to sky and water, making one realize
the quiet but tremendous power locked up in these silent
forces of nature. Our first impression as we look at the
print is one of vast spaces through which the wind hushed
for the moment, will soon be blowing ; the great soft clouds
rolling across the sky, we feel instinctively, hold a pent up
force that will soon break. The picture is full of suggestive-
ness and strength. (See Page 206.)
Study No. 24, "The Oyster Boat," by Dr. A. R. Bene-
dict. A marine study made in deep shadow. The sloop
with its dingy sail and the steamboat just visible on the
horizon line of the picture suggests a strange contrast and
marks a great transformation that has taken place in the
modern commercial world. The emphatic note here is the
338 Library^ of Practical Photograph}^.
upright mast of the boat, which rises to the sky and holds
the water and sky space together, giving a pleasant effect of
unity to the picture. The oblique lines of the sail combine
with the vertical lines of the mast to make a pyramid shape
attractive to the eye and significant to the imagination. The
repetition of these lines and shapes in the topsail, main-
sail and jib is very pleasing and increases the beauty of the
picture. The level line of the far horizon is repeated by the
hull and bowsprit of the oyster boat and both with the up-
right masts show varietj^ of line that gratifies the eye and
makes the picture interesting. (See Page 209.)
Study No. 26, "Marine," by S. I. Carpenter. This is a
happy study of surf that shows taste and feeling for the
pictorial side of this work. Note the direction of the prin-
cipal lines in this picture. They do not merely happen. The
photographer selected these lines with the utmost care. He
chose a point of view where the general lines of the shore
presented a series of curves like the letter S. The white
crest of the waves breaking at this point would necessarily
follow the curvature of the shore line. The gently rounding
masses of rock upon the shore are repeated on the distant
point of land jutting into the sea, faintly suggested by the
rolling white masses of surf, making this picture more and
more admirable the better we know it. (See Page 213.)
Study No. 27, "Boats near Venice," by William H.
Phillips. Here is a picture that has all the qualities of a
painting, minus perhaps the color. Composition, drawing,
balance, tone, texture, all are here, so that it is difficult to
appreciate it rightly as a photograph. The buoy, the black
hulls, and white side of the ships, all at different distances,
strengthen the effect of breadth in the water spaces. The
sky and water fill nearly three-fourths of the picture. The
two ships in the foreground attract our attention the most
and divide interest with the fisher boy. Indeed a line drawn,
through the center of the plate would show two distinct
pictures with each of these as a central point of interest.
The vertical and oblique lines of the sails repeated over and
over again convince us that our eyes like variety of line
HoTV to Understand and Enjo\) the Studies. 339
just as the iiiuscles of the body like variety of exercise.
The very haziness of the horizon line gives distance to the
fartherest ships and suggests atmosphere and perspective.
The whole effect is most grateful to the eye and would be
beautiful to look at even if we had never heard of the beau-
ties of Venice. It illustrates in a special way what artists
call harmony of proportion in composition. (See Page 214.)
Study No. 49, "The Dreamy Susquehanna," by Karl M.
Ebert. This is an instance where the charm of the picture
is perhaps largely due to the sentiment of the subject itself.
The combination of sky and waterway is simple enough, but
it is the fine distribution of light and shade that gives the
effect of breadth to this picture. The light of the evening
sky reflected in the water gives a poetical touch to the whole
scene. (See Page 319.)
Study No. 29, "Blossoms — Cherokee Rose," by Marion
Shark Gaines. This picture is an example of what may be
accomplished in flower photography by careful treatment
both as regards arrangement and lighting. The arrange-
ment here is decorative and the lighting is such that one gets
a good idea of the true shape of the flower photographed.
In photographing white flowers with green foliage the color
screen has been used to good advantage in correcting color
values on the sensitive plate, while the white background is
a decided improvement over black as lessening the contrast
of light and shade in the picture. (See Page 241.)
Study No. 32, "Chrysanthemums," by Dr. A. R. Bene-
dict. A fine picture, in which the composer has caught with
his sensitive plate the subtle qualities of the flower. The
delicate stem, the leaves, the texture of the petals, the grace,
and all the tender beauties of the flower are here. Even the
color values can be felt, thus demonstrating the usefulness
of orthochromatic plates and a light filter in all work of
this kind. (See Page 248.)
Study No. 33, "Water Lilies," by Marion Stark Gaines.
This is an exceedingly interesting photograph of plant life
reproducing the water lily as it actuallj^ appears upon the
lily pond when blossoming. The charm of this print lies in
340 Library of Practical Photography.
the true rendering of form and tone values by repetition and
suggestion. The plant is grooving under normal conditions
and in surroundings common to its species. The general
effect of the photograph is remarkably true to nature. (See
Page 251.)
Study No. 34, "The Blue Flag," by John M. Schreck.
This is a graceful flower study, well rendered hy the photog-
rapher. Owing to the close proximity of the lens the flowers
do not reflect much surface light, hence the need of ortho-
chromatic plates and color screens in most works of this
kind. Furthermore, in photographing blue flowers and
green leaves a deep-color screen was needed to correct the
color values of the unassisted plate, while the background
also should be of a middle tint to keep the balance true in
all other respects. (See Page 252.)
Study No. 37, "Princess," by John M. Schreck. This
is a picture of animal life of fine quality. The character-
istics of the Gordon setter are well set forth in this noble
type of dog. As an example of what can be accomplished by
painstaking care and appreciation in photographing animal
life it is of much interest. (See Page 263.)
Study No. 41, "Young King Birds," by John M.
Schreck. A remarkably fine example of bird photography.
Young birds in the trees are naturally very shy and timid
and make poor photographic models at best. Evidently in
this case the photographer used a lens of considerable focal
length, since there is no evidence of fear on the part of the
birds. He has secured in his result a fairly large image.
The lighting and posing are exceptionally good and the pic-
ture demonstrates that much thought and care are needed to
secure pleasing artistic results such as this picture shows.
(See Page 278.)
Study No. 46. "Needle-hole Landscape," by George H.
Paine. This photograph is remarkable for extreme fineness
of detail which is not always to be found in a picture made
without a lens. The soft definition and diffused focus effect
in needle-hole pictures often destroy detail. The images of
the trees and foliage are very clear which proves abun-
How to Understand and Enjo]) the Studies. 341
dantly, if any proof were needed, that the needle-hole is well
adapted for pictorial work of any kind. (See Page 295.)
Study No. 47, "An October Day," Pin-hole by C. F.
Clark. This print by the well known pictorialist, C. F.
Clark, shows the advantages of pin-hole photography after
proper selection of subject and arrangement of accessories
have been made. There is a pleasing softness of outline, no
distortion of atmospheric effects, and artistic rendering of
tone values which are not always possible with a lens cam-
era. Indeed the advantages in pin-hole photography far out-
weigh the disadvantages, and the wonder is that it is not
more generally practiced. (See Page 296.)
GENERAL INDEX
VOLUME III.
Accomplishments of the Pin-Hole 689,690
Additional Methods for Securing Fuzzy Pictures 659-661
Advantage of the Ray Filter for Snow Photography 432-437
Advantages of Color Corrected Plates ISO, 181
"All Aboard," Study No. 23, by Knox Page 206
Angle of Light in Architectural Photography 74, 75
Angle of View of Lens for Landscape Photography 160
Angle of View of Pin-Hole, Ascertaining 683, 684
Angular Form of Composition 320
Animal Photographs, Development of 613, 614
Animal Photographs, Exposure for 612, 635
Animal Photography 575-616
Animal Photography, Background for 595
Animal Photography, Camera to use for 577
Animal Photography, Practice Work for 615, 616
Animals in Landscape Photographs 608-611
Animals, Light for Photographing 588, 596
Animals, Photographing Young Wild 623
Apparatus for Natural History Photography, Special 618-620
Apparatus for Night Photography 516, 517
Aquatic Life, Photographing 634
Architectural Photography 1-119
Architectural Photography, Angle of Light for 74,75
Architectural Photography, Cameras for 8-10
Architectural Photography, Composition in 24
Architectural Photography, Detailed Instruction in 89-119
Architectural Photography — Difficulties 120-143
Angle of Light, Obtaining Proper 120
Arranging Figures in View 133
Arranging Groups in Pyramidical Form 135
Background of Group Very Light, Faces of Subjects Dark 137
343
344 Library of Practical Photography
Blur Caused by Subjects Passing by Building Being
Photographed ■> 139
Building Having the Appearance of Being Roofless 127
Building, Objectionable Shadows on 141
Building Standing on Level Ground Appearing Ele-
vated in Picture 142
Center of Plate Sharp, Ends out of Focus, Appearing
Blurred 140
Close Quarters, Working in 122
Colors are Non-actinic, Understanding What 138
Dark or Gray Sky in Print 126
Development, Fogging of the Plate During 129
Distance, Obtaining Sharp Focus on Extreme 123
Efifect of Horizon 132
Elevated Appearance of Building Standing on Level
Ground 142
Exposure for Groups, Judging 136
Exposure, Judging Proper 128
Faces of Subjects Dark, Background of Group Very
Light 137
Figures in a View, Arranging 133
Figures Very Small When Entire Building is Shown.... 134
Floors, Tripod Slipping on Polished 143
Focus on Extreme Distance, Obtaining Sharp 123
Fogging of the Plate During Development 129
Foreground or Sky, Obtaining Less 125
Ground-glass, Image Very Thin and Hazy on 124
Ground-glass, Obtaining Straight Lines on 121
Group Background Very Light, Faces of Subjects Dark. 137
Groups in Pyramidical Form, Arranging 135
Groups, Judging Exposure for 136
Horizon, Efifect of 132
Image Very Thin and Hazy on Ground-glass 124
Judging Exposure for Groups 136
Judging Proper Exposure 128
Light, Obtaining Proper Angle of 120
Lines on Ground-glass, Obtaining Straight 121
Long Shadows 130
Moisture on Lens, The Efifect of 124
Non-actinic, Understanding What Colors Are 138
Objectionable Shadows on Buildings 141
Obtaining Less Foreground or Sky 125
Obtaining Proper Angle of Light 120
Obtaining Sharp Focus on Extreme Distance 123
Obtaining Straight Lines on Ground-glass 121
General Index 345
Plate Fogging During Development 129
Plate Sharp in Center, Ends Blurred and Out of Focus.. 140
Polished Floors, Tripod Slipping on 143
Pyramidical Form, Arranging Groups in 135
Roofless Appearance of Building 127
Shadows, Long 130
Shadows on Buildings, Objectionable 141
Shadows, Short 131
Sky in Negative Too Thin, Producing a Print with
Dark or Gray Sky 126
Sky, Obtaining Less Foreground or 125
Straight Lines on Ground-glass, Obtaining 121
Subjects Passing by Building Being Photographed
Causing a Blui 139
Tripod Slipping on Polished Floors 143
Understanding What Colors are Non-actinic 138
Working in Close Quarters 122
Architectural Photography, Distance from Camera to the
Object in 48-50
Architectural Photography, Distortion in 10-13
Architectural Photography, Exposure for 81, 82, 99, 100
Architectural Photography, General Instruction in 46-88
Architectural Photography, Isochromatic Plates for 80
Architectural Photography, Kind of Plates to Use for 78-80
Architectural Photography, Lenses for 17-20
Architectural Photography, Light, Shade and Shadow in 72,73
Architectural Photography, Linear Perspective in 68
Architectural Photography, Obtaining Perpendicular Lines in.. 13
Architectural Photography, Ordinary Plate for 78
Architectural Photography, Orthochromatic Plates for 79
Architectural Photography, Outfit for 6
Architectural Photography, Perspective in 5
Architectural Photography, Perspective Lines in 69
Architectural Photography, Practice Work for 84-88
Architectural Photography, Preliminary Instruction in 1-45
Architectural Photography, Proper View Point in 47
Architectural Photography — Recording Results 119
Architectural Photography, Requirements for 5
Architectural Photography, Selection of Subject for Lesson
Work in 46
Architectural Photography, Vanishing or Converging Lines in. 70, 71
Architectural Views, Best Time of Day for Making 25-28,105
Architectural Views Criticised 30-45
Architectural Views, Developing 83, 118
Architectural Views, Focusing 53-55, 81
346 Library of Practical Photography
Architectural Views, Lighting Groups in 97, 98
Arrangement of Floral Studies,^Line of Beauty and 551
Arranging Groups 101
Art, General Talk on Composition and 328-360
Art Principles, Elementary 208
Artistic Bisection of a Line 226-234
Artistic Perception 145-156
Atmosphere 243, 244
Attaching Home-Made Screen on Lens Page 102
"August Showers," Study No. lo, by Benedict Page 111
Avoiding Heavy Shadows in Floral Photography 549
Avoiding Movement of Wild Flowers 573
Backed Plates, Developing 566
Backgrounds for Animal Photography 595
Backgrounds for Floral Studies 545-548
Backgrounds for Seascape Photography 477
Backing Mixtures 172-175
Backing Plates, Methods of 171
Backing Sheets 176-178
Backing to Avoid Halation, The Effect of 166, 167
Balance (Composition) 216
Banks 103, 104
Bausch & Lomb Bichromate of Potash Ray Filters Page 101
Beauty and Arrangement of Floral Studies, Line of 551
Beauty, Line of 241
Bellows, Camera 569
Best Time of Day for Making Architectural Views 105
Best Time of Day for Sunlight Effects 269
Best Way to Compose a Picture, The 212
Bichromate of Potash Ray Filter, The 185-192
Bichromate of Potash Ray Filters, Bausch & Lomb Page 101
Bird Nests, Photographing 622
Birds, Four Studies of — Study No. 40, by Schreck Page 277
Birds, Illus. of— Study No. 42, by Schreck Page 283
Birds, Photographing Prize 594-596
Birds, Photographing Sea 479-491
Birds, Photographing Wild 624
Bisection of a Line, Artistic 226-234
Bisection of a Line, Illus. of Page 114
Blackening the Brass When Making Pin-Hole 676
Blooded Stock, Photographing 597-601
"Blossoms, Cherokee Roses," Study No. 29, by i\Irs. Gaines.. Pg. 241
"Bluebirds," Study No. 40, by Schreck Page 277
"Blue Flag," Study No. 34, by Schreck Page 252
"Boats Near Venice," Study No. 27, by Phillips Page 214
I Index 347
lenera
Brass When Making Pin-Hole, Blackening the 676
Breadths (Composition) 253
"Bridge," Study No. g, by Field Page 91
Building in Strong Sunlight, Illus. of Dark Page 39
Building Photographed When Sun Was Under Cloud, Illus.
of Dark Page 40
Buildings and Business Thoroughfares, Commercial 102
Buildings, Combination Pictures of 114-117
Buildings, Moving Objects Avoided When Photographing 112
Buildings, Office 103, 104
Buildings, Public 103, 104
Business Thoroughfares 102
"Calling the Ferryman," Study No. 13, by Mrs. Cones. .. .Page 130
Camera and Lens for Photographing Wild Flowers 570
Camera Bellows for Photographing Wild Flowers 509
Camera for Animal Photography 577
Camera for Architectural Photography 8
Camera for Floral Photography 539
Camera for Seascape Photography 458
Camera for Snow and Frost Photography 428, 429
Camera for Street Photography 300-303
Caramel Backing Mixture 173
Caterpillars, Photographing 632, 633
Cats, Photographing 578, 579, 5S3-590
Cattle, Large Heads of 602
Cattle, Photographing 597-601
"Cherokee Roses," Study No. 31, by Mrs. Gaines Page 247
Chickens, Photographing 592-596
"Chipping Sparrow and King Birds," Study No. 40, by
Schreck Page 277
Choice of Apparatus and Material for Landscape and View
Photography 157-200
Choice of Landscape Subjects 203, 254
Choice of Subject and Filter in Landscape Photography. .. .199, 200
"Chrysanthemums," Study No. z^, by Dr. Benedict Page 248
Churches, Photographing 103, 104, 108
Circular Form of Composition 242, 322, 323
Circular Form of Composition, Illustration of Page 124
Cirro-Cumulus Clouds 404, 410
Cirro-Stratus Clouds 406, 408
Cirrus Clouds 401, 402
Cloud and Landscape Prints Combined Pages 179,183
Cloud Effects 107
Cloud Negative, Reproduction of Print of Page 177
Cloud Negatives, Exposure to Obtain 411-413
348 Library of Practical Photography
Cloud Negatives, Horizon in 415-417
Cloud Photography ^ 393-419
Cloud Photography, Double Printing Method 395-398
Cloud Photography, Exposure in 394
Cloud Photography, Practice Work for 418, 419
Cloud, Snow and Frost Photography — Difficulties 444-452
Clouds, Difficulty in Photographing 445,446
Cloud Effects, Flat 444
Detail, High-lights Appear Hard with no 452
Difficulty in Photographing Clouds 445, 446
Dirty, Snow Appears 451
Flat Cloud Effects 444
Flat Snow Negatives 449
Focusing Snow Scenes 448
High-lights Appear Hard, With no Detail 452
Lens, Moisture Gathering on 447
Lighting Snow Scenes 450
Moisture Gathering on Lens 447
Photographing Clouds, Difficulty in 445,446
Snow Appears Dirty 451
Snow Negatives, Flat 449
Snow Scenes, Focusing 448
Clouds, Fair Weather 401, 402
Clouds, Illustration of Printing in Pages 177-180, 183
Clouds, Selection of 399
Clouds, Storm 408-410
Clouds, Where to Photograph 414
Clouds, Wind 403-407
Cloudy Days, Contrast and Snappy Effects on 109-111
Color Corrected Materials, Disadvantages of 196-198
Color Corrected Plates 179-181
Color Corrected Plates, Advantages of 180, 181
Color of Ray Filter for Snow Photography 436, 437
Color Screen, Exposure When Using a 276
Combination Pictures of Buildings 114-117
Commercial Buildings and Business Thoroughfares 102
Compose a Picture, Best Way to 212, 327
Composing the View on Ground-Glass — Pin-Hole Photog-
raphy 679-682
Composition 210, 211, 312-327, 343.352
Composition and Art, General Talk on 328-360
Composition — Atmosphere 243, 244
Composition — Balance 216
Composition — Breadths 253
Composition, Circular Form of 242, 322, 323
General Index 349
Composition — Difficulties (See Landscape Photography Dif-
ficulties) 361-392
Composition, Forms of 238-242, 312-327
Composition — "Golden Section" 231-233
Composition — Harmony • 215, 327
Composition — Horizon Line 245, 286
Composition in Architectural Photography 24
Composition in Landscape and View Photography 201-253,327
Composition — Line of Curvature 241
Composition — Masses of Light and Shade 237
Composition of Foreground 287, 288
Composition on Ground-glass, Securing 295
Composition, Pictorial 314, 315
Composition, Simplicity in 274, 327
Composition — Spottiness 253
Composition— Steelyard, The 218-225
Composition — Subordination 214
Composition— Test Card 251
Composition — The Pyramidal Form of Grouping 321
Composition— Triangular Form 239, 240, 320
Composition— Value of Units 235, 236, 327
Conflagrations, Photographing 504
Contrast and Snappy Effects on Cloudy Days 109-111
Contrasts in Landscape Photography, Excessive 204
Converging Lines in Architectural Photography 70,71
Convertible Three-Focus Lens 19, 20
"Corner in the Piazzetti, A, Venice," Study No. 7, by
Phillips Page 52
Country Road on an Early Morning, A 425, 426
Court-House, Illustration of Page 51
Criticism of Architectural Views 30-45
Crowding Figures in Foreground 284
Cultivating Observation 400, 427
Cummulo-Stratus Clouds 405
Cummulus Clouds 402
Curvature, Line of 241
"Daffodils," Study No. 30, by Carpenter Page 242
Dark Building in Strong Sunlight, Illustration of Page 39
Dark Building Photographed When Sun Was Under Cloud,
Illustration of Page 40
Dark Buildings, Photographing 34-36, 75
"Day is Far Spent," Study No. 8, by Clark Page 71
Decorative Value of Floral Studies 536-538
"Departing Day," Study No. 21, by Scheer Page 198
Detailed Instruction in Architectural Photography 89-119
350 Library of Practical Photography
Developing Architectural Views 83, 118
Developing Backed Plates . . . . ,^ 566
Developing Floral Studies 563-567
Developing Fuzzy Photography Negatives 647, 648
Developing Landscape Views 262
Development of Animal Photographs 613, 614
Development of Negatives Made at Night 526
Development of Pin-Hole Negatives 687
Development of Snow Negatives 438, 439
Diaphragms for Seascape Photography 462
Diaphragms or Stops 22
Diaphragms, Relative Values of Different Markings on 76,77
Difficulties — Architectural Photography (See Architectural
Photography Difficulties) 120-143
Difficulties — Cloud, Snow and Frost Photography (See
Cloud, Snow and Frost Photography Difficulties) 444-452
Difficulties — Landscape Photography and Composition (See
Landscape Photography and Composition Difficulties) . .361-392
Difficulties — Night Photography (See Night Photography
Difficulties) 528-533
Difficulties — Seascape Photography (See Seascape Photog-
raphy Difficulties) 492-497
Diffusing the Light in Floral Photography 560
Disadvantages of Color Corrected Materials 196-198
Distance from Camera to the Object in Architectural Pho-
tography 48-50
Distortion in Architectural Photograph}' 10-13
Dividing the Focus 54
Dogs, Photographing 578-582, 588, 589
Dogs, Photographing Prize ; 591
Domestic Pets, Photographing 578-590
Double Printing Method (Cloud Photography) 395-398
Double Swing 14
"Dreamy Susquehanna, The," Study No. 49, by Ebert Page 319
"Dreary Road, The," Study No. 20, by Clark Page 197
"Dull October Day, A," Study No. 43, by Chislett Page 284
Dust on Negative 161
Early Morning, A Country Road on an 425, 426
"Edge of the Cliff, The," Study No. 15, by Myra Wiggins. .Page 140
Effect of Backing to Avoid Halation, The 166, 167
Elementary Art Principles 208
Estimating Distances in Seascape Photography 468
Exact Moment for Making the Exposure in Street Pho-
tography 304, 305
Example of Using Single Combination of Lens Page 51
General Index 35 1
Excessive Contrasts in Landscape Photography 204
Exposure for Sea Bird Photography 486
Exposure for Snow and Frost Views 430
Exposure in Cloud Photography 394
Exposure in Street Photography, Exact Moment for Mak-
ing the 304, 305
Exposure — Pin-Hole Photography 685, 686
Exposure to Obtain Cloud Negatives 411-413
Exposure When Using a Color Screen 276
Exposures at Mid-day, Example of Making Page 72
Exposures at Mid-day, Making 106
Exposures at Night, Making 522, 525
Exposures for Animal Photographs 612, 635
Exposures for Architectural Photography 81, 82, 99, 100
Exposures for Natural History Photography 635
Exposures for Seascape Photography 478
Exposures in Floral Photography 562
Exposures in Landscape Photography 261, 265
Fair Weather Clouds 401, 402
"Fairy Tales," Study No. 14, by Sanderson Page 139
"Family of Flickers," Study No. 40, by Schreck Page 277
"Fast Falls the Eventide," Study No- 11, by Paine Page 112
"Fighting it Out Down the Stretch," Study No. 39, by
Schreck Page 264
Figure in Landscape, Size of 282
Figure Studies for Seascape Photography 467
Figures are Introduced, Time Exposures for Architectural
Views When 97, 98
Figures in Foreground, Crowding 284
Figures in Landscape 280-299, 326
Figures in Landscape, Practice Work for 309-311
Figures Introduced, Photographing Residences with 91-96
Figures Out of Harmony with the Landscape 283
Figures Too Large in Landscapes 285
Films for Landscape Photography 264
Filter, Home-made Ray 193-195
Filter, Ray 182-195
Fine vs. Stormy Days — Seascape Photography 473-475
Fish, Photographing 634
Flashes, Lightning 502
Floral Photography 534-567
Floral Photography, Camera for 539
Floral Photography, Diffusing the Light in 560
Floral Photography, Exposure in 562
Floral Photography, Lens for 540, 541
352 Library of Practical Photography
Floral Photography, Plates and Ray Filter for 542-544
Floral Studies, Backgrounds fqr 545-548
Floral Studies, Decorative Value of 536-538
Floral Studies, Developing 563-567
Floral Studies, Focusing 561
Floral Studies, Line of Beauty and Arrangement in 551
Flowers, Lighting the 550, 556-559
Flowers, Space Behind the 546, 547
Flowers the Subject, Not Vases 552-555
Flowers, Wild 568-574
Focal Length of Lens for Landscape Photography 159,290
Focus, Dividing the 54
Focusing 259, 260, 292-294
Focusing Architectural Views 53-55, 81
Focusing Cloth for Sea Bird Photography 487
Focusing Floral Studies 561
Focusing High Buildings 66
Focusing, Rack and Pinion for 15
Focusing Scale 465
Foreground, Composition of 287, 288
Foreground, Crowding Figures in 284
Foreground Interesting, How to Make the 298,299
Foreground to be Used with Cloud Negative Pages 178,180
Forms of Composition 238-242, 312-327
Foundation of Photography 2
Fowls, Photographing 592-596
Front, Use of Rising 295, 296
Frost and Snow Photography 420-443
Frost Subjects, Snow and 422-424
Fuzzy Photography 638-665
Fuzzy Photography — Caution 662-665
Fuzzy Photography — Developing 647, 648
Fuzzy Photography, Lens for 643
Fuzzy Photography, Printing Paper for 649
Fuzzy Photography, Weather Conditions Best for 640,641
Fuzzy Pictures, Additional Methods for Securing 659-661
General Hints for Landscape Photography 263
General Instruction — Architectural Photography 46-88
General Talk on Composition and Art 328-360
General View Photography, Landscape and 144-200
Genre Work— Pictures That Tell a Story 255
"Golden Section," The 231-233
Ground-glass, Securing Composition on 295
Grouping, The Pyramidal Form of 321
Groups, Arranging 101
General Index 353
Groups in Architectural Views, Lighting 97, 98
Groups, Stops to Use When Making 101
Halation, Explanation of 162-165
Halation, Illustration of Effects of Page 92
Halation, Illustration of Effect of Backed Plate on Page 92
Halation, The Effect of Backing to Avoid 166, 167
Hand Cameras for Architectural Photography 10
Handling the Tripod for Seascape Photography 459
Harbor and Ship Scenes at Night 510
Harmony (Composition) 215
Heads of Cattle, Large 602
Heavy Shadows in Floral Photography, Avoiding 549
"Hepaticas," Study No. 35, by Schreck Page 257
High Building, Focusing 66
High Buildings, Photographing 56-66
"Hillside Path," Study No. 36, by Knox Page 258
Hogarth's Line of Beauty, Diagram of 241, 325
Hogarth's Line of Beauty in Landscape, Illus. of. ...Pages 121,123
Home-made Ray Filter 193-195
Home-made Ray Filter, How to Attach 195, Page 102
Home, Photographs of 1
Hood, Illustration of Lens Page 232
Hood, Lens 519
Horizontal Line 245, 286, 324, 415-417
Horizontal Swing 67
Horses 603, 604
Horses in Action 605-607
How the Studies Were Made Pages 307-315
How to Attach Home-made Screen 195
How to Expose with Sunlight on Landscape 268
How to Make the Foreground Interesting 298, 299
How to Understand and Enjoy the Studies Pages 317-341
Human Eye vs. Lens 434
Illuminations, Photographing 5U3
Important Lines of a Picture 325
Individuality in Picture Making 250-258
In Order That Your Picture May Look Natural, the Sur-
roundings Should Always be in Keeping With the Prin-
cipal Object 319
Insects, Photographing 628-633
Instruction in Landscape Photography 254-267
Interest, The Principal Object of 213
Iron Foundries 505
Isochromatic Plates 179-181
Isochromatic Plates, Disadvantages of 196-198
354 Library of Practical Photography
Isochromatic Plates for Architectural Photography 80
Kind of Plate to Use for Architectural Views 78-89
Kind of Subjects 205-207
King Birds, Illustration of, Study No. 42, by Schreck Page 283
King Birds, Nest and Eggs of. Study No. 42, by Schreck. .Page 283
Landscape and General View Photography 144-200
Landscape and General View Photography, Composition in. 201-253
Landscape, Figures in 280-299
Landscape, Figures out of Harmony with the 283
Landscape Foreground, Crowding Figures in 284
Landscape Foreground to be Used with Cloud Negative...
Pages 178,180
Landscape Photographs, Animals in 608-611
Landscape Photography and Composition — Difficulties 361-392
Arrangement, Cannot Secure Proper 376,377
Color Corrected Materials, Poor Results with 382
Color, Misleading Effects Produced by 368
Common and Uninteresting, Pictures Appear 373-375
Difficulty in Photograpning Woodland Scenes 369
Exaggerated Breadth in Foreground 370
Figures in Landscape Too Small 385
Figures not Harmonizing with Landscapes 386
Figures Too Large in Landscape 387
Flatness in Landscapes 365-367
Foreground, Exaggerated Breadth in 370
Foreground Uninteresting 390, 391
Groups Too Large for Landscape 389
Groups Too Scattered in Landscape 388
Isochromatic Plates, Poor Results with 382
Lack of Interest in Street Scenes 392
Landscape, Figures Too Large in 387
Landscape, Groups Too Large for 389
Landscape, Groups Too Scattered in 388
Landscape, Spotted Effect When Trees Appear in. .. .378-380
Landscape Too Small, Figures in 385
Landscapes, Figures not Harmonizing with 386
Landscapes, Flatness in 365-367
, Misleading Effects Produced by Color 368
Objects Attract Too Much Attention, Unimportant 371
Orthochromatic Plates, Poor Results with 382
Over-correction by Using Ray Filter, etc 383,384
Pictures Appear Common and Uninteresting 373-375
Poor Results with Color Corrected Materials 382
Ray Filter, Over-correction by Using 383, 384
Results in General, Unsatisfactory 361-364
General Index 355
Road Scenes Uninteresting 381
Spotted Effect When Trees Appear in Landscape 378-380
Street Scenes, Lack of Interest in 392
Trees Appear in Landscape, Spotted Effect When. . .378-380
Unimportant Objects Attract Too Much Attention 371
Uninteresting Foreground 390, 391
Uninteresting, Road Scenes 381
Unsatisfactory Results in General 361-364
Unsuccessful Work on Windy Days 372
Windy Days, Unsuccessful Work on 372
Woodland Scenes, Difficulty in Photographing 369
Landscape Photography, Angle of View of Lens for 160
Landscape Photography, Choice of Apparatus and Material
for 157-200
Landscape Photography, Exposure in 261, 265
Landscape Photography, Films for 264
Landscape Photography, General Hints for 263
Landscape Photography, Instruction in 254-267
Landscape Photography, Practical Hints on 275
Landscape Photography, Practice Work for 266,267
Landscape Photography Selection of View in 202
Landscape Subjects, Choice of 203, 254
Landscape Views, Developing 262
Landscape, Figures Too Large in 285
Landscapes, Practice Work for Sunlight on 278,279
Landscapes Rendering Light and Shade, Sunlight on 268-279
Large Heads of Cattle 602
Lens and Pin-hole Compared 668-671
Lens Best When Photographing Foregrounds, Narrow Angle. 289
Lens, Convertible Three-Focus 19, 20
Lens, Example of Using Single Combination of Page 51
Lens for Architectural Photography 17-20
Lens for Floral Photography 540, 541
Lens for Fuzzy Photography 643
Lens for Landscape and View Photography, Selecting the.... 158
Lens for Landscape Photography, Angle of View of 160
Lens for Landscape Photography, Focal Length of 159, 290
Lens for Night Photography 521
Lens for Seascape Photography 461
Lens from Direct Sunlight, Protect the 270
Lens Hood 519
Lens Hood, Illustration of Page 232
Lens, The Pin-Hole 691
Lens vs. Human Eye 434
Level, Illustration of T. T. & H.'s Single Page 232
356 Library of Practical Photography
Levelling the Camera with a Spirit Level 518
Light and Shade in Foregroiihd Composition 297
Light and Shade, Masses of 237
Light Buildings, Photographing 25-33
Light for Architectural Photography, Angle of 74,75
Light for Floral Photography, Diffusing the 560
Light for Photographing Animals 588, 596
Lighting for Flowers 550, 556-559
Lighting for Seascape Photography 476
Lighting for Street Photography 307
Lighting Groups in Architectural Views 97, 98
Lightning Flashes 502
Lightning, Illustration of Page 223
Light, Shade and Shadow in Architectural Photography 72,73
Limitations of the Photographer 209
Linear Perspective 68
Line, Artistic Bisection of 226-234
Line, Horizon 245, 286, 324, 415-417
Line, Illustration of the Bisection of a Page 114
Line of Beauty and Arrangement in Floral Studies 551
Line of Beauty, Hogarth's Pages 121, 123
Line of Curvature 241
Line of Curvature, Illustration of Pages 121, 123
Lines, Demonstration of Perspective Page 56
Lines of a Picture, Important 325
Lizards, Photographing 634
Location of Units Within the Picture Space, Value of 235, 236
Luminous Bodies 72
Lumiere Non-Halation Plate 169
Making Exposures at Mid-day 106
Making Exposures at Night 522, 525
Making the Pin-Hole 675, 676
"Man on the Box, The," Study No. 17, by Dr. Benedict. . .Page 146
"Marine," Study No. 26, by Carpenter Page 213
Masses of Equal Size, Illustration of Page 117
Masses of Light and Shade 237
Masses of Unequal Size, Illustration of Page 118
"Meadow Road, The," Study No. 48, by Peterson Page 306
Methods of Backing Plates 171
Mid-day, Example of Making Exposures at Page 72
Mixtures, Backing 172-175
Moon, Photographing the 513
Moonlight Effect, A Page 228
Moonlight Effects 511, 512, 651-658
"Moonlight on the Mississippi," Study No. 28, by Weeks .. Page 227
General Index 357
"Mother King Bird," Study No. 42, by Schreck Page 283
Mounting Brass Pin-Hole 677
Moving Objects 112, 113
Moving Objects Avoided When Photographing Buildings. Page 78
Narrow Angle Lens the Best When Photographing Fore-
grounds 289
Narrow Street, Photographing in a 51, 52
Natural History Photography — Birds, Insects, Animals, etc.. 617-637
Natural History Photography, Exposure for 635
Natural History Photography, Special Apparatus for 618-620
Nature, Beauty in 145-156
Naval Displays 506
"Needle-Hole," Study No. 46, by Paine Page 295
Needles for Pin-Hole Photography, Size of 678
"Nest and Eggs of King Bird," Study No. 42, by Schreck. .Page 283
Nest Studies 622
Night, Development of Negatives Made at 526
Night, Making Exposures at 522, 525
Night Photography 498-527
Night Photography, Apparatus for 516, 517
Night Photography — Conflagrations 504
Night Photography— Difficulties 528-533
Buildings, Difficulty in Photographing Tall 530
Development, Difficulty in 533
Difficulty in Photographing Tall Buildings 530
Difficulty in Securing Moonlight Effects 532
Displays, Unsuccessful in Securing Window 529
Exposures While Objects are Continually Moving
Within the View, Making 531
Lightning Flashes 528
Making Exposures While Objects are Continually
Moving Within the View 531
Moonlight Eflfects, Difficulty in Securing 532
Objects are Continually Moving Within the View,
Making Exposures While 531
Tall Buildings, Difficulty in Photographing 530
Window Displays, Unsuccessful in Securing 529
Night Photography — Illuminations 503
Night Photography — Iron Foundries 505
Night Photography, Latitude in 513
Night Photography, Lens for 521
Night Photography — Leveling the Camera with a Spirit Level 518
Night Photography — Lightning Flashes 502
Night Photography — Moonlight Effects 511, 512
Night Photography— Plates 523
358 Library of Practical Photography
Night Photography— Practice Work 524-527
Night Photography — Selection ,of Point of View 524
Night Photography — Ship and Harbor Scenes 510
Night Photography — Store Fronts 505
Night, Railway Stations at 509
Night, Snow Scenes at 515
Night, Street Photography at 507, 508
Nimbus Clouds 408, 409
Non-Halation Plates 168-170
Non-Halation Plates, Lumiere 169
Object of Interest, The Principal 213, 317
Objects, Moving 112, 113
Objects Should be Few in Number and Simple in Character.. . 318
Observation, Cultivating 400, 427
Obtaining Perpendicular Lines 13
"October Day," (Needle-Hole), Study No. 47, by Clark. . . .Page 296
"October Morning, An," Study No. 2, by Sweet Bros. ... .Page 26
Office Buildings 103, 104
Opaque Bodies '<'2
Ordinary Nest Studies 622
Ordinary Plate in Architectural Photography 78
Orthochromatic Plates 179-181
Orthochromatic Plates, Disadantages of 196-198
Orthochromatic Plates for Architectural Views 79
Outfit for Architectural Photography 6
Outfit for Photographing Sea Birds 481-483
"Oyster Boat," Study No. 24, by Dr. Benedict Page 209
"Oyster Boats Near Venice," Study No. 27, by Phillips. . .Page 214
Panoramic Views 514
Paper to Use for Pin-Hole Photographs 688
Perpendicular Lines, Obtaining 13
Perspective in Architectural Photography 5
Perspective, Linear 68
Perspective Lines, Demonstration of Page 56
Perspective Lines in Architectural Photography 69
Pets, Photographying Domestic 578-590
Pictorial Composition 314, 315
Pictorial Effects, Securing 201
Pictorial Photography is a Very Broad Subject 313
Picture Making, Individuality in 256-258
Picture Space, Pulling Power of 217
Picture Space, Value of Location of Units Within the 235,236
Pictures That Tell a Story— Genre Work 255
Pin-hole, Accomplishments of the 689, 690
Pin-Hole, Ascertaining Angle of View of 683, 684
General Index 359
Pin-Hole, Blackening the Brass When Making 676
Pin-Hole Compared with Lens 668-671
Pin-Hole for Wide-Angle Photography 674, 683, 684
Pin-Hole Lens, Illustration of Page 302
Pin-Hole Lens, The 691
Pin-Hole, Making the 675, 676
Pin-Hole Negatives, Development of 687
Pin-Hole Photographs, Paper to Use for 688
Pin-Hole Photography 666-692
Pin-Hole Photography — Composing the View on the
Ground-Glass 679-682
Pin-Hole Photography — Exposure 685, 686
Pin-Hole Photography, Final Cautions for 692
Pin-Hole Photography, Practice Work for 679-692
Pin-Hole Photography, Size of Needles for 678
Pin-Hole in Position, Placing 677
Photographer's Limitations, The 209
Photographing Aquatic Life 634
Photographing Blooded Stock 597-601
Photographing Buildings, Illustration of Page 40
Photographing Caterpillars 632, 633
Photographing Cattle 597-601
Photographing Dark Buildings 34-36, 75
Photographing Domestic Pets 578-590
Photographing Fish 634
Photographing Fowls 592-596
Photographing High Buildings 56-66
Photographing Horses 603, 604
Photographing Horses in Action 605-607
Photographing in a Narrow Street 51, 52
Photographing Insects 628-633
Photographing Light Buildings 25-33
Photographing Lizards 634
Photographing Prize Birds 594-596
Photographing Prize Dogs 591
Photographing Rabbits 626
Photographing Residences with Figures Introduced 91-96
Photographing Sea Birds 479-491
Photographing Snakes 634
Photographing Squirrels 626
Photographing the Moon 513
Photographing the Sea 469-471
Photographing Wild Life 617
Photographing Young Wild Animals 623
Photographing Young Wild Birds 624
360 Library of Practical Photography
Photographs, Animals in Landscape 608-611
Photographs of Home 1
Photography, Animal '." 575-616
Photography, Architectural 1-119
Photography at Night, Street 507, 508
Photography, Cloud 393-419
Photography, Floral 534-567
Photography, Foundation of 2
Photography, Fuzzy 638-665
Photography is a Very Broad Subject, Pictorial 313
Photography, Natural History — Birds, Insects, Animals, etc.. 617-637
Photography, Night 498-527
Photography, Pin-Hole 666-692
Photography, Pin-Hole for Wide-Angle 674, 683, 684
Photography, Seascape 453-478
Photography, Snow and Frost 420-443
Photography, Street 300-311
Placing the Pin-Hole in Position 677
Plate, Lumiere Non-Halation 169
Plate to Use for Architectural Views 78-80
Plates, Advantages of Color Corrected 180, 181
Plates, Color Corrected 179-181
Plates for Floral Photography 542, 544
Plates for Night Photography 523
Plates for Seascape Photography 463, 464
Plates, Non-Halation 168-170
Plaza, The (Illustration Made with Goerz Lens) Page 224
"Pleasures Under Summer Skies," Study No. I2, by Knox. Page 129
Point of Interest in Seascape Photography 472
Point of View, Selection of 524
Power of Picture Space, Pulling 217
Practical Hints on Landscape Photography 275
Practice Work for Animal Photography 615, 616
Practice Work for Architectural Photography 84-88
Practice Work for Cloud Photography 418, 419
Practice Work for Figures in Landscape 309-311
Practice Work for Landscape Photography 266, 267
Practice Work for Natural History Photography 636, 637
Practice Work for Night Photography 524-527
Practice Work for Pin-Hole Photography 679-692
Practice Work for Seascape Photography 4S9-491
Practice Work for Snow and Frost Photography 442, 443
Practice Work for Street Photography 309-311
Practice Work for Sunlight on Landscape 278, 279
Preliminary Instruction — Architectural Photography 1-45
General Index 361
"Princess," Study No. 37, by Schrcck Page 263
Principal Object, In Order that Your Picture May Look
Natural the Surroundings Should Always be in Keep-
ing With the 319
Principal Object of Interest 213, 317
Principal Object of Interest, Location on Ground-glass of
Page 108
Printing from Negatives of Snow Scenes 440, 441
Printing in Clouds, Illustration of Pages 177-180, 183
Printing Paper for Fuzzy Photographs 649
Prize Birds, Photographing 594-596
Prize Dogs, Photographing 591
Professional Cameras for Architectural Photography 9
Proper View Point in Architectural Photography 47
Protect the Lens from Direct Sunlight 270
Public Buildings, Banks, Office Buildings, Churches, etc. .. .103, 104
Pulling Power of Picture Space 217
Pyramidal Form of Grouping, The 321
Rabbits, Photographing 626
Rack and Pinion for Focusing 15
Railway Stations at Night, Photographing 509
Ray Filter 182-195
Ray Filter for Floral Photography 542, 543
Ray Filter for Snow Photography, Advantage of 432-437
Ray Filter for Snow Photography, Color of 436, 437
Ray Filter, The Bichromate of Potash 185-192
Ray Filters, Home-made 193-195
Ray Filters, Illustration of Bausch & Lomb Bichromate of
Potash Page 101
Recording Results — Architectural Photography 119
Records of Wild Life 625
Reflex Camera for Seascape Photography 460
Reflex Camera, Illustration of Page 184
Relative Value of Different Markings on Diaphragms 76, 77
Residence, Artistic View of Frontispiece
Residence, Commercial View of, Illustration No. 8 Page 43
Residence Correctly Lighted, Illustration of Page 36
Residence of Gray Stone, Illustration of Page 39
Residence Photographed Under Strong Sunlight, Illustra-
tion of Page 35
Residence Photographed with Sun Under Cloud, Illustra-
tion of Pages 35, 36
Residence, Study No. 4 — Illustration No. 9 Page 44
Residence, Study No. 5 — Illustration No. 10 Page 47
Residence, Study No. 6 — Illustration No. 11 Page 48
362 Library of Practical Photography
Residence with Figures Introduced, Photographing 91-96
Reversible Back IS
Rising Front in Architectural Pfiotography, Use of 59-66
Rising Front, Use of 295, 296
"Road in the Sand, The," Study No. 45, by Scheer Page 290
Road on an Early Morning, A Country 425, 426
Roads and Trees 273, 274
Screen, Home-made Ray 193-195
Screen on Lens, Attaching Home-made Page 102
Screen, Ray 182-195
Sea Bird Photography, Exposure for 486
Sea Bird Photography, Focusing Cloth for 487
Sea Birds, Outfit for Photographing 481-483
Sea Birds, Photographing 479-491
Sea Birds, Tripod Camera for Photographing 484,485
Sea, Photographing the 469-471
Seascape Photography 453-478
Seascape Photography, Background for 477
Seascape Photography, Camera for 458
Seascape Photography, Diaphragm for 462
Seascape Photography — Difficulties 492-497
Artistic Standpoint, Seascapes a Failure from an 495,496
Birds, Photographing Sea 497
Failure from an Artistic Standpoint, Seascapes a 495,496
Flat Seascapes 492
Focusing Scale was Relied Upon, Objects out of
Focus When 494
Fogging in Holders, Plate 493
Objects out of Focus When Focusing Scale was
Relied Upon 494
Photographing Sea Birds 497
Plate Fogging in Holders 493
Sea Birds, Photographing 497
Seascapes a Failure from an Artistic Standpoint 495,496
Seascapes, Flat 492
Seascape Photography, Estimating Distance in 468
Seascape Photography, Exposures for 478
Seascape Photography, Figure Studies for 467
Seascape Photography — Fine vs. Stormy Days 473-475
Seascape Photography, Handling the Tripod for 459
Seascape Photography, Lens for 461
Seascape Photography, Lighting for 476
Seascape Photography, Plates for 463, 464
Seascape Photography, Point of Interest in 472
Seascape Photography, Practice Work for 489-491
General Index 363
Seascape Photography, Reflex Camera for 460
Seascape Photography, Selecting Subject Material for 4G6
Securing Pictorial Effects 201
Selecting a Subject 316
Selecting the Lens for Landscape and View Photography 158
Selecting Subject Material lor Seascape Photography 466
Selection of Clouds 399
Selection of Point of View 524
Selection of Subject for Lesson Work in Architectural
Photography 46
Selection of View in Landscape Photography 202
Setting up Tripod 51
Shade and Shadow in Architectural Photography 72, 73
Shade, Definition of 73
Shade, Line of 72
Shadow, Definition of 73
Shadows in Floral Photography, Avoiding Heavy 549
Ship and Harbor Scenes at Night 510
Shutter, Illustration of Skyshade Page 184
Shutters 21
Simplicity in Composition 274
Single Combination of Lens, Example of Page 51
Size of Figure in Landscape 282
Skyshade Shutter, Illustration of Page 184
Snakes, Photographing 634
Snappy Effects on Cloudy Days 109-111
Snow and Frost Photography 420-443
Snow and Frost Photography, Camera for 428, 429
Snow and Frost Photography — Difficulties (See Cloud, Snow
and Frost Photography Difficulties) 444-452
Snow and Frost Photography, Practice Work for 442, 443
Snow and Frost Subjects 422-424
Snow and Frost Views, Exposure for 430
Snow Negatives, Development of 438, 439
Snow Photographs, Lens for 431
Snow Photography, Use of Ray Filter for 432-437
"Snow Scene," Study No. i8, by Wilson Page 189
Snow Scenes at Night 515
Snow Scenes, Printing from Negatives of 440, 441
"Souvenir de Petit Trianon," Study No. i, by Phillips. .. .Page 25
Space Behind the Flowers 546, 547
Space, Value of Location of Units Within the Picture 235,236
Special Apparatus for Photographing Wild Animals 618-620
Special Background for Flowers 548
Speed of Plate to Use for Floral Photography 544
364 Library of Practical Photography
Spirit Level, Leveling the Camera with 518
Spottiness (Composition) ^ 253
"Spring," Study No. 44, by Phillips Page 289
Squirrels, Photographing 626
Steelyard, Illustration of the Page 110
Steelyard, The 218-225
Stop to Use When Making Groups 101
Stops or Diaphragms 22
Store Fronts 505
Storm Clouds 408-410
Stratagem in Street Photography 306
Stratus Clouds 403
"Street in Old Japan," Study No. 16, by Phillips Page 145
Street Photography 300-311
Street Photography at Night.. 507,508
Street Photography, Camera for 300-303
Street Photography, Exact Moment for Making the Expos-
ure in 304, 305
Street Photography, Lighting for 307
Street Photography, Practice Work for 309-311
Street Photography, Stratagem in 306
Street Photography, View Finder for 303
Street Scene Page 72
"Street Scene — Winter," Study No. 19, by Neary Page 190
Streets, Business 102
Studies Illustrating this Volume, How to Understand and
Enjoy the Pages 317-341
Studies Illustrating this Volume Were Made, How the....
Pages 307-315
Subject and Filter in Landscape Photography, Choice of... 199, 200
Subject Material for Seascape Photography, Selecting 466
Subject, Selecting a 316
Subjects, Kinds of 205-207
Subjects, Snow and Frost 422-424
Subordination (Composition) 214
Suggestions for Choice of Subject 254
Sunlight Effects, Best Time of Day for 269
Sunlight on Landscapes Rendering Light and Shade 268-279
Sunlight on Landscapes, Practice Work for 278,279
Sunlight, Protect the Lens from Direct 270
Sunlight Snow Scenes 423
Sunlighted Pictures, View-point when Making 271,272
"Sunset Clouds Over Bay," Study No. 25, by Carpenter. ..Page 210
"Swans," Study No. 38, by Harriet Lyman Page 264
Swing-back 11, 12
General Index 365
Swing-back, Example of Use of Pages 55, 56
Swing-back, Properly Using the 56-66
Talk on Composition and Art, General 328-360
Test Card 251
Tilting Attachment for Use When Photographing Wild Flowers 572
Time Exposures for Architectural Views When Figures are
Introduced 97, 98
Time of Day for Making Architectural Views, The Best. .25-28, 105
Trees and Roads 273, 274
Triangular Form of Composition 239, 240, 320
Triangular Form of Composition, Diagram of Page 120
Tripod Camera for Photographing Sea Birds 484, 485
Tripod, Setting up 51
Tripod to Use When Photographing Wild Flowers 571
Tripods 23
Unit, Value of a (Composition) 235, 236
Units Within the Picture Space, Value of Location of 235,236
Use of Plates and Ray Filter for Floral Photography 542-544
Use of Ray Filter for Snow Photography 435
Use of Rising Front 295, 296
Using the Swing-back Properly 56-66
U. S. Number When Number is Given for the f System,
To Find the 77
Value of Location of Units Within the Picture Space 235,236
Vanishing or Converging Lines in Architectural Photo-
graphy 70, 71
Vases, Flowers the Subject not 552-555
View Finder, An Easily Constructed 680-682
View Finder for Street Photography 303
View Photography, Angle of View of Lens for 160
View Photography, Choice of Apparatus and Material for
General 157-200
View Photography, Landscape and General 144-200
View Point in Architectural Photography, Proper 47
View Point When Making Sunlighted Pictures 271,272
Views, Panoramic 514
"Water Lilies," Study No. 33, by Mrs. Gaines Page 251
"Wave, The," Study No. 22, by Peterson Page 205
Weather Conditions Best for Fuzzy Photography 640,641
Wet Weather 520
Where to Photograph Clouds 414
Wide-Angle Photography, Pin-hole for 674, 683, 684
Wild Animals, Special Apparatus for Photographing 618-620
Wild Flowers 568-574
Wild Flowers, Avoiding Movement of 573
366 Library of Practical Photography
Wild Flowers, Camera Bellows for Photographing 569
Wild Flowers, Camera and Lens for Photographing 570
Wild Flowers, Tilting Attachment for use when Photo-
graphing 572
Wild Flowers, Tripod to use when Photographing 571
Wild Life, Photographing 617
Wild Life, Records of 625
Wind Clouds 403-407
"Young King Birds," Studies Nos. 41 and 42, by Schreck...
Pages 278, 283
"Young Wild Foxes," Study No. 40, by Schreck Page 277
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